PRICE,  35   CENTS  EACH. 


By  THEODORE  F.  SEWARD,  assisted  by  B.  C.  UNSELD. 


I 


Biglow  &  Main,  Publishers, 


76  EAST'i\'lNTH  STREET, 
New  York:. 


81  RANDOLPH  STREET, 
Cliicagfo. 


MAY  BE  ORDERED  THROUGH  ANY  BOOKSELLER  OR  MUSIC  DEALER. 


THE 

TONIC  SOL-FA  MUSIC  READER: 

V 

A.  COURSE  OF  INSTRUCTION  AND  PRACTICE  IN  THE 

TONIC  SOL-FA  METHOD  OF  TEACHING  SINGING, 

WITH  A 

Choice  Collection  of  Music  Suitable  for  Day  Schools 

AND  Singing  Schools. 


By  THEODORE  F.  SEWARD,  assisted  by  B.  C.  UNSELD. 

APPROVED   BY  JOHN  CURWEN. 


BiGLOw  &  Main,  Publishers, 

No.  76  East  Ninth  Street,  New  York,  and  81  Randolph  Street,  CnicAGa 

FOR  SALE  BY  BOOKSELLERS  AND  MUSIC  DEALERS  GENERALLY. 


Copyright,  1880,  by  Biglow  &  Maim 


PREFACE. 


The  Tonic  Sol-fa  System  is  presented  by  the  authors  of  this  book  to  the  American  public,  in  the 
firm  belief  that  the  introduction  of  the  system  will  mark  a  new  era  in  the  musical  history  of  this  country. 
The  Tonic  Sol-Fa  System  presents  two  widely  different  characteristics,  either  one  of  which  ought  to  com- 
mend it  to  all  who  are  interested  in  music.  Together  they  constitute  an  absolute  demand  for  recognition. 
These  characteristics  are : 

First. — It  removes  three-fourths  of  the  difficulties  of  music  from  the  path  of  the  beginner  j  and, 

Second. — //  leads  to  far  greater  intelligence  and  appreciation  in  the  advanced  stages  of  study  and  practice . 

A  scholarly  American  musician  has  recently  written  concerning  Tonic  Sol-fa  : — "It  is  not  only  a 
method  of  making  music  easy,  but  for  making  it  more  truly  and  profoundly  understood." 

The  Tonic  Sol-fa  System  is  often  called,  by  those  who  use  it,  "the  natural  method."  The  steps  of 
progression  are  so  easy  and  natural  that  both  teachers  and  pupils  find  a  pleasure  in  the  study  that  they 
never  realized  before.  It  is  so  simple  as  to  bring  about  a  new  departure  in  the  teaching  of  music,  in  the 
following  respect — Those  who  know  a  little  about  music  can  teach  that  little  without  being  compelled  to  master  the  whole 
science  beforehand,  as  is  necessary  with  the  staff  notation.  In  this  way  a  new  class  of  teachers  is  developed 
wherever  the  Tonic  Sol-fa  System  is  introduced,  viz:  persons  of  education  and  culture  who  love  music, 
but  who  have  heretofore  been  deterred  by  its  technical  difficulties  from  devoting  themselves  to  it.  It  has 
been  a  common  experience  in  England  for  such  persons  to  begin  teaching  the  first  steps  by  the  Sol-fa 
method,  and,  becoming  interested,  they  have  gone  on  studying  and  teaching  till  they  were  led  to  devote 
themselves  exclusively  to  music  and  became  among  its  most  intelligent  exponents  and  successful  workers. 

Try  the  system  fairly.  Do  not  omit  the  best  points  and  fancy  you  know  all  about  Sol-fa.  The 
various  devices  and  expedients  presented  in  the  system  are  not  matters  of  theory,  but  the  outgrowth  ol 
years  of  actual  trial  and  experience  by  many  of  the  best  teachers  of  Great  Britain. 

This  book  is  prepared  for  elementary  classes  of  all  grades.  It  embraces  the  first  four  "steps  "  of  the 
system,  and  is  intended  for  Singing  Schools  and  the  various  grades  of  Day  Schools.  Even  the  primary  de- 
partments can  be  carried  through  the  first  steps  by  the  aid  of  the  modulator,  handsigns  and  blackboard. 

It  is  important  to  state  that  the  "Tonic  Sol-fa  Music  Reader,"  is  published  with  the  full  sympathy 
and  approval  of  Mr.  Curwen,  the  founder  of  the  system.  The  first  steps  were  submitted  to  him  for 
examination  and  were  returned  approved,  with  but  few  and  unimportant  changes.  Since  the  recent  death 
of  Mr.  Curwen,  his  son,  Mr.  J.  Spencer  Curwen,  who  takes  his  place  in  directing  the  movement  in  Eng- 
land, has  examined  and  approved  the  MS. 

THEO.  F.  SEWARD, 

Orange,  N.  J.  B.  C.  UNSELD. 


INTRODUCTION. 


IT  has  been  known  for  some  years  by  musicians  in  this 
country  that  an  important  musical  movement  was  in  progress 
in  England.  A  new  notation  had  been  invented,  and  new 
methods  of  teaching  were  coming  into  use  which  seemed  to 
awaken  a  widespread  musical  interest  among  the  masses,  and 
to  lead  them  rapidly  to  the  practice  of  a  much  higher  order  of 
compositions  than  those  studied  by  the  corresponding  class  in 
this  country. 

During  what  may  be  called  the  experimental  stage  of  the 
movement,  it  is  not  strange  that  the  attention  attracted  on  this 
side  of  the  water  amounted  to  little  more  than  idle  curiosity. 
This  country  had  already  been  the  subject  of  repeated  "  experi- 
ments." New  notations  and  "easy  methods"  almost  without 
number  had  arisen,  won  a  few  converts,  and  passed  into  oblivion 

But  at  last  it  became  evident  that  the  English  system  con- 
tained elements  of  vitality  and  usefulness  which  the  others  had 
been  wanting  in.  Prominent  musicians  in  that  country  recog- 
nized and  acknowledged  its  educational  value,  and  thoughtful 
people,  even  in  America  were  convinced  that  the  system  was 
based  upon  true  philosophical  principles.  A  two-years  resi- 
dence in  England  and  Scotland  gave  the  author  of  this  work 
an  opportunity  to  thoroughly  investigate  the  method  and  to 
witness  its  practical  results. 

Seeing  is  believing.  The  superiority  of  the  system  for  edu- 
cational purposes  was  so  evident  that  he  resolved  to  devote 
flimself  to  the  special  work  of  introducing  it  in  this  country  on 
iis  return.  A  practical  use  of  the  system  with  classes  of  differ- 
xnt  grades  and  ages  since  his  return  has  fully  confirmed  the 
i<ivorable  impression  already  received. 

One  of  the  prmcipal  reasons  why  the  Tonic  Sol-fa  system 
bi'ings  so  much  quicker  and  better  results  than  the  old  method, 
is  that  it  holds  the  learner  constantly  to  the  practice  of  music  by 
avoiding  the  technical  difficulties  of  the  staff  notation  until 
the  mind  is  thoroughly  trained  to  musical  effects.  How  great 
these  difficulties  are  it  is  hard  for  us  to  realize  who  have  been 
accustomed  to  them  from  our  earliest  years. 

The  following  are  some  of  the  more  prominent  of  them  : 

1.  The  scale  is  represented  in  seven  dififerent  positions  on  the 

staff,  or,  including  both  clefs,  fourteen. 

2.  To  locate  the  scale  upon  the  staff,  thirteen  signatures  must 

be  learned  and  remembered,  or,  including  both  clefs, 
twenty-six. 

3.  The  representation  of  chromatic  tones  is  exceedingly  com- 

plicated. The  same  tone  requires  for  its  representation 
in  the  various  keys,  five  dififerent  characters,  viz. ;  aS,  afc>, 
aU,  aX,  or  2i\h. 


Each  degree  of  the  staff  is  so  modified  in  the  use  of  the 
various  keys  as  to  have  more  than  thirty  different  mean- 
ings. 

4.  "When  a  chromatic  tone  is  introduced  there  is  nothing  to  tell 

tlie  reader  whether  it  leads  to  a  change  of  key  or  is  merely 
"accidental." 

5.  The  intervals  of  the  scale  (steps  and  half-steps)  are  in  no 

way  indicated  or  suggested  by  the  staff. 

6.  The  minor  scale  is  not  individualized  by  the  staff  notation, 

and  remains  to  the  average  music  reader  an  unsolved 
mystery. 

7.  Notes  have  no  fixed  value  as  to  time.    A  quarter  note  in  one 

movement  may  be  twice  as  long  as  a  half  note  in  another, 
and  vice  versa. 

8.  The  technical  difficulties  of  the  notation  so  cover  up  and 

mystify  the  simple  realities  of  music  that  the  study  of  har- 
mony, which  ought  to  come  naturally  in  the  early  stages 
of  any  thorough  course  of  instruction,  is  left  as  an  abstruse 
science  to  be  taken  up  as  a  special  study  by  a  favored  few, 
after  every  other  department  has  been  mastered. 

In  view  of  such  an  array  of  difficulties,  is  it  any  wonder  that 
there  are  so  few  readers  of  music?  The  truth  is  that  the  stafif 
notation  is  (except  to  the  especially  gifted)  really  a  barrier  between 
the  learner  and  tnusic,  and  the  only  question  is  whether  or  not  it 
will  be  overcome.    In  nine  cases  out  often  it  is  not. 

In  contrast  with  the  complications  of  the  staff  notation,  ob- 
serve carefully  the  following  characteristics  of  the  Tonic  Sol-fa 
system  : 

1.  It  has  but  one  representation  of  the  scale  instead  of  fourteen, 

as  in  the  staff  notation. 

2.  There  are  but  two  representations  of  each  chromatic  tone  in- 

stead of  five,  as  in  the  staff  notation. 

3.  "Accidental"  or  passing  chromatic  tones  are  not  confounded 

with  those  which  lead  to  a  change  of  key. 

4.  Changes  of  key,  however  remote,  are  clearly  indicated  by 

this  notation.  In  the  words  of  an  acute  musical  critic, 
(Dr.  W.  S.  B.  Mathews  of  Chicago,)  "  the  Tonic  Sol-fa 
notation  shows  the  musical  reader  exactly  what  he  needs 
to  know." 

5.  There  is  no  puzzling  out  of  notes  on  added  lines  and  spaces, 

which  is  always  so  confusing  to  the  beginner,  (and  usually 
a  long  time  after  beginning.) 

6.  The  representation  of  time  is  simple  and  uniform. 

7.  By  this  notation  the  minor  scale  is  easily  sung  and  under- 

stood. 


iv.  INTROI 

8.  By  the  Tonic  Sol-fa  notation  and  the  method  of  teaching 

which  properly  accompanies  it,  the  principles  of  harmony 
are  received  almost  unconsciously,  and  can  be  compre- 
hended from  the  beginning. 

9,  It  is  the  quickest  and  most  thorough  means  of  acquiring  the 

use  of  the  staff  notation. 
The  highest  aim  of  those  who  teach  the  staff  notation  in  pop- 
ular classes  is  to  enable  the  learner  to  read  music,  and  the  diffi- 
culties are  so  great  that  a  very  small  per  centage  of  those  who 
begin  the  study  ever  really  acquire  the  ability  to  sing  indepen- 
dently at  sight. 

The  Tonic  Sol-fa  system,  on  the  contrary,  developes  the 
general  musical  intelligence  of  the  pupil — his  perceptions,  his 
listening  faculty,  his  memory.  It  enables  him  to  think  music, 
to  write  music  ;  the  ability  to  read  it  comes  incidentally  as  a 
matter  of  course. 

Another  advantage  of  this  method  is  that  it  is  really  a  system, 
from  beginning  to  end.  The  pupil's  way  is  marked  out  by  a 
series  of  "  steps,"  and  a  great  incentive  to  industry  and  practice 
is  afforded  by  the  giving  of  certificates  to  those  who  prepare  to 
pass  the  various  examinations.  These  certificates  are  issued  by 
the  Tonic  Sol-fa  College  of  London,  and  are  five  in  number — 
the  Junior,  Elementary,  Intermediate,  Member's  and  Advanced. 
A  teacher  who  has  taken  the  Intermediate  certificate  is  entitled 
to  give  the  Junior  and  Elementary,  after  a  proper  examination 
of  the  pupil.  (For  requirements,  see  page  V.)  One  who  has 
the  Member's  certificate  is  entitled  to  give  the  three  lower  ones. 
Neat  and  tastefully  printed  certificates  are  supplied  by  the  Lon- 
don College  at  a  nominal  price,  which  can  be  filled  in  by  the 
teacher  as  needed. 

While  the  Tonic  Sol-fa  system  has  arrived  at  its  present  stage 
of  perfection  through  the  experience  of  many  teachers,  yet  it 
has  been  chiefly  moulded  into  shape  by  the  wisdom,  firmness 
and  organizing  qualities  of  one  man — the  Rev.  John  Curwen, 
whose  life  of  singular  usefulness  has  ended  within  a  few  weeks. 
The  educational  part  of  this  book — the  method  proper — is 
drawn  from  Mr.  Curwen's  various  published  works,  but  mainly 
from  "The  Standard  Course."  The  authors  claim  no  original- 
ity for  this  book  except  in  the  manner  of  presentation.  It  has 
been  prepared  with  great  care,  taking  in  every  valuable  point  of 
the  system,  but  rearranging  and  condensing  for  the  special 
adaptation  of  the  method  to  the  musical  needs  of  this  country. 
The  "  Standard  Course,"  which  is  Mr.  Curwen's  most  complete 
setting  forth  of  the  system,  includes  full  instructions  in  vocal 
training,  harmony,  musical  form,  etc.,  etc.  The  "Tonic  Sol-fa- 
Music  Reader"  presents  only  the  broad  facts  of  time  and  tune, 
)br  the  use  of  elementary  classes. 

A  new  and  very  interesting  application  of  Sol-fa  principles  is 
now  being  made  by  Mr.  Daniel  Batchellor,  of  Boston,  in  the 
Kindergarten  work.  Mr.  Batchellor  was  a  well  known  Sol-fa 
teacher  in  England,  having  takea  the  Advanced  certificate  at 


JCTION. 

the  Tonic  Sol-fa  College  of  London.  After  his  arrival  in  Boston 
several  years  ago,  he  devoted  considerable  time  to  the  Kinder- 
garten work,  and  developed  a  very  ingenious  method  of  teaching 
tones  by  colors.  His  method  has  attracted  much  attention 
among  prominent  advocates  of  the  Kindergarten  system,  as  it 
adds  a  new  educational  element  to  that  work.  Mr.  Batchellor 
is  an  official  representative  of  the  Tonic  Sol-fa  College  in  this 
country.  He  has  taken  a  deep  interest  in  the  preparation  of 
this  book,  and  its  authors  are  indebted  to  him  for  many  valua- 
ble suggestions. 

The  Modulator,  (see  page  VIII.)  As  the  Sun  is  the  centre 
of  the  Solar  system  so  the  Modulator  is  the  centre  of  the  Sol-fa 
system.  The  Modulator  in  the  Tonic  Sol-fa  notation  takes  the 
place  of  the  Staff  in  the  common  notation.  It  stands  behind 
every  note  we  see  in  the  book.  From  habitual  use  of  it,  the 
Mind's  eye  always  sees  it  there.  It  is  our  "pictorial  symbol  of 
tone  relations."  In  the  first  steps  it  shows  us  the  relations  of 
tones  in  a  single  key,  and  at  the  fourth  and  other  steps  it  shows 
the  relations  of  keys  to  one  another.  A  complete  familiarity 
with  the  Modulator  is  of  the  utmost  importance,  for  it  is  impos- 
sible to  understand  the  notation  properly  until  it  is  printed  on 
the  mind  ;  in  fact,  until  the  letters  of  a  tune  become  not  merely 
a  straight  line,  but  "  pointers"  which  at  once  carry  the  mind  to 
the  Modulator.  It  is  to  the  Sol-fa  singer  what  the  key-board  of 
the  piano  is  to  the  player.  It  is  not  simply  a  diagram  illustra- 
ting the  intervals  of  the  scale  and  related  keys,  to  be  used  a  few 
times  and  then  laid  aside.  Its  great  value  is  in  the  means  it 
affords  for  drilling  the  class  on  the  tones  of  the  scale.  It  will 
be  observed  that  the  syllables  are  spelled  with  the  English 
sounds  of  letters  instead  of  the  Italian,  as  has  heretofore  been 
the  usage.  Children  are  not  accustomed  to  to  the  Italian 
sounds  in  any  other  words,  and  there  is  no  occasion  for  con- 
fusing them  with  these.  The  open  sound  oi  soh  is  preferred  to 
sol  as  being  more  vocal.  The  exchange  of  "  te  "  for  "  se  "  (si) 
is  a  needed  improvement  for  several  reasons,  viz. : — i.  The  use 
of  the  syllable  "  se  "  (si)  twice,  e.  as  the  seventh  of  the  major 
scale  and  also  of  the  minor.  2.  The  letter  "  s  "  has  the  most 
unpleasant  sound  in  the  language,  and  it  should  not  occur  more 
than  once.  3.  The  change  gives  an  additional  consonant,  and  is 
useful  for  practice  in  articulation.  4.  In  the  Sol-fa  notation  a 
different  initial  letter  is  needed  for  either  soh  or  se. 

Mental  Effects. — Some  teachers  are,  at  first,  inclined  to 
ignore  this  doctrine  of  the  Sol-fa  method,  but  it  is  a  subject  emi- 
nently worthy  of  the  profoundest  study.  Mental  effects  are 
difficult  to  perceive  because  they  are  mental.  Let  not  the 
teacher  be  discouraged  if  he  does  not  at  once  grasp  the  whole 
matter.  The  perception  of  mental  effect  is  cumulative,  the  more 
the  subject  is  studied  the  plainer  it  becomes.  The  practice  of 
teaching  by  mental  effect  has  become  so  important  in  the  Tonic 
Sol-fa  method  that  the  teacher  cannot  take  too  much  pains  to 
master  it.    He  should  remember  that  these  effects  exist,  whether  he 


INTRODUCTION. 


V. 


recognizes  them  or  not,  and  it  is  certainly  wiser  to  utilize  than  to 
ignore  them.  The  pamphlet  "  Studies  in  Mental  Effects  "  fur- 
nish a  large  variety  of  examples. 

Steps  of  the  Method. — One  of  the  most  useful  features  of 
the  method  is  the  arrangement  of  the  course  of  instruction  in  a 
series  of  graded  steps.  The  close  of  each  step  is  intended  as  a 
point  at  which  the  work,  should  be  revised,  and  the  standing  of 
each  pupil  ascertained  before  proceeding  to  the  next.  Any- 
thing which  is  left  dimly  understood  or  imperfectly  practiced  in 
one  step,  is  only  a  legacy  of  so  much  confusion,  weakness  and 
discouragement  handed  over  to  the  next.  How  many  lessons 
will  be  required  to  teach  each  step  it  is  difficult  to  say,  without 
knowing  the  kind  of  class.  Some  classes  will  require  one  les- 
son and  some  three  or  four  to  each  step.  The  teacher  should 
be  guarded  against  hurry  rather  than  delay. 

The  Certificates. — At  the  end  of  the  third  step  a  distinct 
personal  examination  of  each  pupil  is  made  for  the  Junior 
School  Certificate.  At  the  end  of  the  fourth  step  another  exami- 
nation is  made  for  the  Elementary  Certificate.  The  value  of 
the  Certificate  depends  on  the  known  character  of  the  Examiner 
for  strictness  and  integrity.  A  careless  examination  soon 
makes  the  pupil  ashamed  of  his  Certificate  and  of  the  teacher 
who  signed  it.  The  special  object  of  these  Certificates  is  to 
save  the  pupil  from  one-sidedness,  and  to  secure  an  equality  of 
progress  in  time,  tune,  memory,  &c.,  as  well  as  to  promote  pri- 
vate study  and  discipline  at  home.  They  supply  to  the  teacher 
also  a  welcome  test  of  his  own  work.  If  he  finds  his  pupils 
generally  failing  in  the  Time  Exercises  of  the  Certificate,  he 
knows  where  his  own  neglect  has  been.  If  their  failure  is  in  the 
Ear  Exercises  or  in  memory  or  in  tune,  he  learns  how  to  im- 
prove his  lessons.  It  has  been  proved  by  extensive  and  careful 
statistics,  that  those  teachers  who  make  the  fullest  use  of  the 
Certificates  have,  on  an  average,  times  the  success  of  other 
teachers,  however  skillful  those  other  teachers  may  be.  There- 
fore it  is  that,  in  the  Tonic  Sol-fa  movement,  every  pains  is  taken 
to  put  honor  on  the  Certificates — first,  by  guarding,  as  far  as  pos- 
sible, the  strictness  of  the  teaching  ;  and  second,  by  firmly  pro- 
hibiting the  appearance  of  any  uncertificated  pupil  at  a  public 
concert.  Any  one  who  gives  his  pupils  the  gratification  of 
taking  part  in  a  public  entertainment  before  they  have  taken 
the  trouble  to  prepare  themselves  for  a  Certificate,  does  an  un- 
kindness  to  his  brother  teachers  and  to  our  whole  movement, 
and  a  greater  unkindness  to  his  lazy  pupils.  The  Elementary 
Certificate  is  the  only  honest  introduction  to  an  Intermediate 
class,  and  the  Intermediate  Certificate  is  a  necessary  ground  of 
membership  for  an  Advanced  class. 

Requirements  of  the  Certificates. 

Junior  School  C-ektivickt-e.— Examiners  :  Teachers  or  their 
Assistants  who  hold  the  "  Elementary." 


1.  Bring  on  separate  slips  of  paper  the  names  of  three  tunes, 

and  point  and  Sol-fa  on  the  Modulator,  from  memory,  one 
of  these  tunes  chosen  by  lot. 

2.  Sing  on  one  tone  to  la,  in  perfectly  correct  time,  any  one  of 

Nos.  I  to  9  of  the  "  Elementary  Rhythms,"  taken  by  lot. 
Two  attempts  allowed. 

3.  Follow  the  Examiner  in  a  Voluntary  by  the  Manual  Signs,  or 

on  the  Modulator,  moving  at  the  rate  of  M.  6o,  and  con- 
sisting of  at  least  sixteen  two^pulse  measures,  including 
leaps  to  any  of  the  tones  of  the  scale,  but  neither  transition 
nor  the  minor  mode. 

4.  Answer  correctlf  any  one  which  the  teacher  may  choose  of 

the  exercises  belonging  to  Class  A  in  the  second  and  third 
steps  of  "  Hints  for  Ear  Exercises,"  {e.  i.,  Nos.  76  to  121 
and  160  to  175),  or  any  corresponding  exercise. 

Elementary  Certificate. — Examiners  :  Teachers  or  their 
Assistants  who  hold  the  "  Intermediate." 

1.  Bring  on  separate  slips  of  paper  the  names  of  six  tunes,  and 

point  and  sing  on  the  Modulator,  from  memory,  one  of 
these  tunes  chosen  by  lot. 

2.  Sing  on  one  tone  to  la  in  perfectly  correct  time,  any  two  of 

the  "  Elementary  Rhythms,"  taken  by  lot.  Two  attempts 
allowed. 

3.  Follow  the  Examiner's  pointing  in  a  Voluntary  on  the  Modu- 

lator, moving  at  the  rate  of  M.  60,  containing  transition 
into  one  of  the  side  columns  on  the  "better  method." 

4.  Pitch  by  help  of  a  tuning  fork.  Sol-fa  not  more  than  three 

times,  and  afterwards  sing  to  words,  or  to  the  open  sylla-' 
ble  Za,  any  "part"  in  a  psalm  tune,  in  the  Tonic  Sol-fa 
Notation,  not  seen  before — but  not  necessarily  containing 
any  passages  of  transition,  or  of  the  Minor  Mode,  or  any 
divisions  of  time  less  than  a  full  pulse. 

5.  Tell  by  ear  the  Sol-fa  name  of  any  three  tones  in  stepwise 

succession  (except  m  r  d)  the  Examiner  may  sound  to  the 
syllable  "Scah,"  the  Examiner  having  first  given  you  the 
key-tone  and  chord.    Two  attempts  allowed. 

Manner  of  Teaching'. 

It  is  hardly  necessary  to  say  that  the  ways  of  presenting  the 
various  subjects  in  this  book  are  not  to  be  followed  mechani- 
cally. They  are  illustrations  of  the  manner  in  which  the  topics 
may  be  treated,  but  every  teacher  will  have  his  own  way  of 
carrying  out  the  details.  One  of  the  leading  characteristics  of 
this  system  is  that  so  little  time  needs  to  be  occupied  with 
theory.  "We  learn  to  do  by  doing"  is  the  grand  motto  of  the 
Tonic  Sol-faist.  The  new  devices  of  the  system — the  Modulator, 
Manual  Signs,  Time-names,  and  even  the  doctrine  of  Mental 
Effects  are  all  expedients  for  leading  the  student  to  practice 
more,  to  think  more,  to  remember  better  ;  in  other  words,  to  in- 
crease his  musical  intelligence. 


MENTAL  EFFECTS  AND  MANUAL  SIGNS  OF  TONES  IN  KEY. 


Note. — The  diagrams  show  the  right  hand  as  seen  by  pupils  sitting  in  front  of  the  teacher  toward  his  left  hand.  The  teacher  make* 
his  signs  in  front  of  his  ribs,  chest,  face  and  head,  rising  a  little  as  the  tones  go  up,  axid  falling  as  they  go  down. 


FIEST  STEP. 


SOH. 


The  Grand  or  bright  tone,— the  Major 
Dominant,  making  with  715  and  Ray  the 
Dominant  Chord, — the  Chord  S,  and  with 
Fah  also  the  Dominant  Seventh  Chord, — 
the  Chord  'S. 


0 


ME. 


The  Steady  or  calm  tone, — the  Major 
Mediant,  making  with  Soh  and  Te  the 
rarely  used  Chord  M. 


DOH. 


The  Strong  or  firm  tone  —the  Major 
Tonic,  making  with  Me  and  ^oh  the  Tonic 
Chord,  the  Chord  D. 


SECOND  STEP. 


TE. 


The  PrEBCiNG  or  sensitive  tone, — the  Ma- 
jor Leading  Tone,  making  with  Eay  and 
Fah  the  weak  Chord  T. 


The  EousiNG  or  hopeful  tone, — the  Major 
SuPEBTONic,  making  with  Fah  and  Lah  the 
Chord  K,— in  which  case  it  is  natural] j' 
I  sung  a  komma  flatter. 


THIRD  STEP. 


The  Sad  or  weeping  tone, — the  Majoi 
SuBMEDiANT,  making  with  Doh  and  Mt 
the  Chord  L. 


FAH. 


The  Desolate  or  awe-inspiring  tone, — 
the  Major  Subdominant,  making  with  Lah 
and  Doh,  the  Subdominant  Chord,— the 
Chord  F. 


NoTE.-77(e.s-e  proximate  verbal  descriptions  of  mental  effect  are  only  true  of  the  tones  of  the  scale  when  sung  slowly—^ 
fUled  with  the  key,  and  when  the  effect  is  not  modified  by  harmony. 


NOTATION  OP  TIME. 

The  long  heavy  bar  indicates  a  strong  accent;  the  short,  thin  bar  (  |  )  a  me- 
dium accent,  and  the  colon  (  :  )  a  weak  accent 

Time  is  represented  by  the  space  between  the  accent  marks.  The  space  from 
one  accent  mark  to'  the  next  represents  a  Pulse.  (Beat,  or  Part  of  the  measure). 
The  space  between  the  strong  accent  marks  (long  bars)  represents  a  measure. 


TWO-PUIiSE 
MEASUKE. 


THEEE-PTJLSE 
MEASTJKE. 


FOTJR-PUXSE 
MEAStTRE. 


{I  ■■  n\  ■■  ■■  ill  = '  =  111 


SrX-PTJLSB 
MEASURE. 

:   :  I   :  : 


The  Tonic  Sol-fa  Method  makes  use  of  a  system  of  I^me-names  to  aid  in  the 
«tudy  of  time.  The  Pulse  is  the  unit  of  measurement,  and  a  tone  one  pulse 
kmg  is  named  taa.       \  ^       >^       |  ^       •  ^ 


I  TAA         TAA         I  TAA  TAA 

The  continuation  of  a  tone  through  more  than  one  pulse  is  indicated  by  a 
dash,  and  the  time-name  is  obtained  by  dropping  the  consonant 


d  :d 

TAA  TAA 


Id  :- 

TAA   -  AA 


d 

TAA 


I-  :- 

-  AA    -  AA 


A  pulse  divided  into  halves — half-pulse  tones 
—is  named  taatai,  and  is  indicated  in  the  nota- 
tion by  a  dot  in  the  middle,  (pron.  tah-tay) 

A  tone  continued  into  the  first  half  of  the  \ 
next  pulse — a  pulse-and-a-half  tone — is  named  and  I- 
indicated  thus:  ) 

A  pulse  divided  into  quarters  is  named  tafatefe,  ] 
and  is  represented  by  a  comma  in  the  middle  of  f 
each  half-pulse,  (pron.  tah-fah-iay-fay).  ' 

A  pulse  divided  into  a  half  and  two  quarters  I 
is  named  TAAtefe.  | 

A  pulse  divided  into  three  quarters  and  a  a 
quarter  is  named  [TAA-efe.  and  is  indicated  by  a  !■ 
dot  and  comma.  ) 

Thirds  of  a  pulse  are  named  taataite«,  and ) 
represented  by  commas  turned  to  the  right  j 

Silences  (Bests)  are  named  by  substituting 
the  letter  S  for  T  or  f,  thus — a  full  pulse  silence 
is  named  SAA ;  a  half-pulse  silence  is  named  SAA 
on  the  first  half  of  a  pulse  and  SAI  on  the  second 
half.  Quarter-pulse  silences  are  named  sa  on  the 
first  half  and  se  on  the  second.  Silences  aare  in- 
dicated by  the  absence  of  notes  in  the  pulse  di- 
■mions.  e.  i.,  vacant  space. 


Minuter  divisions  of  the  pulse,  sixths,  eighths,  ninths,  are  seldom  used  ex- 
rapt  in  instrumental  music.    In  the  Sol-fa  notation  no  distinction  is  made  between 

J,       ^  etc.,  there  being  but  one  way  of  writing  the  different  varidUs  of 

iDMsara 


Id  .d 

:d  .d 

1  TAATAI 

TAATAI 

d 

:-  .d 

1  TAA 

-AA  TAI 

|d,d.d,d 

:d  .d 

1  ta-fa  -  te-fe 

TAATAI 

Id  .d,d 

:d  .d,d 

|taa  -  te-fe 

TAA  -  te-fe 

Id  .,d 

:d  .,d 

1    TAA  -efe 

TAA  -efe 

Id  ,d  ,d 

:d  ^d  ,d 

1  taa  -  tai  -  tee 

taa  -  tai  -  tee 

1  TAA 

SAA 

Id  . 

:  .d 

1  TAA  SAI 

SAA  TAI 

|d,d.d, 

:  ,d.d,d 

1  ta-fa  -  te-se 

3a  -  fa-te  -  fe 

THE  MODULATOR. 


se 
8 

ba 
f 

m 


d 


86, 
B| 

ba, 
f| 

PIi  _ 

ri 


fe' 


rl 


de' 


ta 


la 


de 


doh> 
te 

lah 

se 

soh 

bah 

fah 
me 

ray 

doh 

ti 
t& 


Be, 
8| 


le 


fe 


d' 

t 


Be 
8 

ba 
f 

PI 


d 

t, 

-  1. 

se, 
S| 

ba, 
f| 

n, 
ri 


THE  TONIC  SOL-FA  MUSIC  HEADER. 


PART  I.-INSTRUCTIONS  AND  EXERCISES. 


FIRST  STEP. 

To  recognize  and  produce  the  tones  Doh,  Me,  Soh;  the  upper  octave  of  Doh,  and  the  lower  octave  of  Soh.  To  recognize  and  produce  the 
ttrong  and  weak  accent,  and  the  simplest  divisions  of  time,  viz ; — the  Pulse,  the  half-pulse,  ttoo-pvlse  measure  and  three-pulse  measure. 


The  first  lesson  may  begin  by  practicing  a  familiar  tune,  or 
by  a  few  appropriate  remarlM  by  the  teacher,  after  which  he  may 

You  may  listen  to  me  and  be  ready  to  sing  the  exam- 
ples I  give  you. 

He  sings  a  tone  which  he  considers  in  his  own  mind  as  Doh, 
the  first  tone  of  the  scale,  at  about  the  pitch  of  D  or  E,  clearly 
and  firmly  to  the  syllable  la. 

You  may  all  sing  it. — 

The  dash  will  signify  that  a  command  is  obeyed  or 

a  question  answered.  It  may  be  necessary  to  repeat  the  example 
several  times  before  the  voices  blend  well. 

NOTB. — The  teacher  should  never  sing  with  his  pnpils,  but  give  ex- 
amples or  patterns  carefully  which  they  are  to  imitate.  They  should 
Usten  while  he  sings,  and  he  listen  while  they  sing.  Mr.  Curwen  says, 
"The  first  art  of  the  pupil  is  to  listen  weU.  He  that  listens  best,  sings 
best."   After  this  tone  is  sung  correctly,  the  teacher  may  say — 

Listen  to  me  again  — 

He  now  sings  a  tone  a  fifth  higher,  Soh,  the  fifth  tone  of  the 
Bcaie,  to  the  syllable  la.    The  pupije  imitate. 

Now  sing  these  two  tones,  after  me,  just  as  I  sing 
them. 

He  sings  the  two  tones  in  succession,  to  la,  in  any  order  he 
Ex  I.    KEYS  D,  F  and  C. 


SOH 

S  S  S  — 

DOH 

d  d  d  — 

/ 

Ex.  3. 

SOH 

S 

—  s  s 

d  d 


s  s 


chooses,  but  varies  the  manner  of  producing  them;  making 
them  sometimes  loud,  sometimes  soft,  long  or  short;  changing 
the  pitch  of  Doh  frequently,  sometimes  singing  C  and  G,  some- 
times E  and  B,  or  D  and  A,  etc.,  the  pupils  imitating  each  pat- 
tern.   See  examples  below — Exs.  1  to  4. 

We  will  now  learn  the  names  of  these  two  tones — The 
lower  tone  is  called  Doh — What  is  it  called  ? — The  upper 
tone  is  called  Soh — What  is  it  called? 

Note. — In  giving  out  a  new  fact  or  principle  the  teacher  should  al- 
ways question  the  pupils,  that  they  may  not  only  hear  it  stated  but  be  led 
to  state  it  themselves.  The  teacher,  as  he  gives  the  names,  •  writes  or 
"prints"  them  on  the  blackboard,  Soh  above  Doh,  leaving  considerable 
space  between  them. 

Now  we  will  sing  the  tones  to  their  names;  repeat 
after  me  the  tones  I  give  you. 

The  following  exercises  are  specimens  of  patterns  which  the 
teacher  may  give.  The  upright  lines  indicate  how  much  of  each 
exercise  may  be  given  as  a  pattern.  The  horizontal  dash  — 
shows  that  the  tone  should  be  prolonged.  For  the  sake  of  soli- 
tary students,  who  cannot  have  the  assistance  of  a  teacher,  the 
exercises  are  printed  in  the  form  of  diagrams,  the  arrow  indi- 
cating the  upward  or  downward  direction  of  the  voice.  A  nar- 
rower type  and  somewhat  altered  form  is  given  to  the  letter  m 
(n),  for  convenience  in  printing. 


Ex.  2. 
S  S  S 


ddd  — 


s  s 


d  — 


Ex.  4. 


DOH 


d  d 


d  - 


/\  /\ 

d  d  d  —    d  —  d 


d  d 


FEaST  STEP. 


You  may  now  sing  as  I  point  to  the  names  on  the 
blackboard  and  without  a  pattern  from  me. 

They  sing,  to  his  pointing,  exercises  similar  to  those  given 
above. 

Sing  again  as  I  point,  but  this  time  sing  the  tones  to 

la. 

He  points  to  the  names,  they  sing  to  la.  In  all  these  exer- 
cises the  teacher  will  frequently  change  his  keytone,  lest  the  pupils 
be  tempted  to  try  to  sing  by  absolute  pitch  instead  of  giving 
their  attention  to  the  relation  of  tones. 

Now  I  will  sing  Doh  and  you  may  sing  the  Soh  to  it. 
He  sings  Doh  and  then  gives  them  a  signal  to  sing  Soh. 
I  will  take  a  different  Boh  and  you  may  give  me  the 
Soh  to  it. 

He  takes  a  different  pitch  for  Doh  and  they  sing  the  Soh  to 
it.    This  he  does  several  times,  always  changing  the  keytone. 

You  may  now  name  the  tones  as  I  sing  them,  I  wUl 
sing  to  la,  and  when  I  sing  the  lower  tone,  say  Boh,  and 
when  I  sing  the  upper  tone  say  Soh. 

He  sings  the  two  tones  in  various  successions,  the  pupils 

Ex.  5.    KEYS  D,  F  and  C. 

SOH 
ME 

DOH 
SOH 

ME 

DOH 

Now  sing  as  I  point. 

The  teacher  should  drill  the  class  thoroughly  on  these  three 
tones,  singing  them  first  to  the  names  and  afterward  to  la. 

The  pitch  should  be  changed  frequently. 

Thus  far  we  have  been  studying  the  names  and  relative 
positions  of  these  three  tones,  but  now  I  want  to  call  your 
attention  to  the  most  important  and  most  interesting  thing 
about  them,  and  that  is  their  characters,  or  the  effects  or 
feelings  they  produce  upon  the  mind.  One  of  them  is  a 
strong,  firm  tone;  another  is  a  bright,  clear,  grand  tone; 
and  another  is  a  gentle,  peaceful,  calm  tone.  I  want  you  to 
find  out  the  character  of  each  tone  for  yourselves.  You 
may  listen  to  me  and  as  I  sing  give  your  attention  speci- 


calling  out  "Doh,"  "Soh,"  etc.  It  may  be  well  for  him  to  winf 
each  tone  several  times  and  not  to  change  too  quickly — for  in 
stance  d,  d,  d,  d,  s,  s,  s,  b,  d,  d,  a,  a,  d,  s,  d,  8,  s,  d,  etc. 

Name  them  once  more,  and  if  I  sing  a  different  tone 
from  these  two,  one  that  is  neither  Boh  nor  Soh,  you  may 
say  New-tone. 

He  sings  as  before,  the  class  calling  out  the  names,  and  after 
keeping  them  a  little  while  in  expectation,  he  sings  the  third 
tone  of  the  scale — Me — (of  course  to  la),  which  the  pupils  at 
once  detect.  It  is  better  to  let  the  new  tone  come  in  after  Soh, 
thus,  d — 8 — PI—. 


Is  the  new  tone  higher  or  lower  than  Boh? 

Is  it  higher  or  lower  than  Soh? 

The  name  of  the  new  tone  is  Me. 

What  is  its  name  ? 

Where  shall  I  write  it  on  the  board  ? 

See  diagram. 

Imitate  the  patterns  I  give  you. 


SOH 

ME 

DOH 


He  patterns  the  following  or  similar  examples,  singing  to 
the  names,  which  the  pupils  repeat. 


Ex.  6. 


/\ 

d  d— 


\/ 


n  m- 


Ex.  8. 


/ 


/ 


\ 


\ 


d— 


ally  to  Boh,  and  then  tell  me  which  of  these  characters  it 
has;  whether  it  is  calm  and  peaceful,  or  clear  and  grand, 
or  strong  and  firm. 

Teacher  sings  the  following  phrase  or  something  similar, 
bringing  out  strongly  the  character  of  Doh. 
|d:  —  |d:d|pi:m|d:  —  |d:m|s:ni|s:s|d:  —  II 

Is  Boh  calm  and  peaceful,  or  clear  and  grand,  or  strong 
and  firm? 

Now  listen  to  Soh  and  tell  me  what  character  it  has. 
Teacher  sings  the  following  phrase. 
|d:d|m:d|s:s|s:-|s:Pi|d:in|s:B|8:  —  H 
What  kind  of  a  tone  is  Soh? 


FIE8T  STEP. 


Now  listen  to  Me. 

Teacher  sings  the  following  phrase. 

:d|n:d|n:s|pi:  —  |pi:m|s:n|d:s|[n:  —  II 

What  is  the  character  of  Me? 

What  kind  of  tone  is  Dof—Soh  ?  Me? 

I  call  your  attention  to  these  characters  or  mental  ef- 
fects of  the  tones  not  as  a  mere  matter  of  curiosity,  but  as 
a  real  help  in  singing  them.  As  you  try  to  sing  a  tone, 
think  of  its  mental  effect  and  that  will  help  you  to  sing  it 
correctly. 

Let  us  now  learn  to  sing  the  tones  from  signs  repre- 
senting their  mental  effects.  The  strong,  firm  tone  is 
represented  by  the  closed  hand  thus,  (see  manual  signs). 
All  make  it. 

What  kind  of  a  tone  is  indicated  by  this  sign  ? 

What  is  its  name? 

The  bright,  clear,  grand  tone  is  represented  by  the  open 
hand  thus  — .    All  make  it. 

What  kind  of  a  tone  does  this  sign  indicate? 
What  is  its  name  ? 

And  this  sign  (open  hand,  palm  downwards),  represents 
the  calm,  peaceful  tone.    All  make  it. 

What  kind  of  a  tone  is  indicated  by  this  sign  ? 
And  this? — and  this?— etc.,  etc,,  etc. 
Give  me  the  sign  for  the  strong  tone. 
The  sign  for  the  grand  tone. 

The  sign  for  the  calm  tone, — Grand  tone. — Strong 
tone,  etc. 


You  may  sing  the  tones  as  I  indicate  them  by  the 

Think  of  their  mental  effects  as  yop  sing  them. 
The  teacher  will  give  a  good  drill  with  the  hand-iigns,  pu- 
pils singing  to  the  sol-fa  names  and  also  to  la. 

Listen  to  me  and  when  I  sing  the  grand  tone,  instead 
of  telling  me  its  name,  you  may  give  me  its  sign. 

Teacher  sings  the  tones  to  la  and  each  time  he  sings  soh 
the  pupils  make  the  sign. 

Now  give  me  the  sign  for  the  calm  tone  when  you 
hear  it. 

Teacher  sings  as  directed  above,  pupils  make  the  sign. 
Now  give  the  sign  for  the  strong  tone. 
Teacher  and  pupils  as  directed  as  above. 
Now  give  the  sign  for  each  tone  as  I  sing. 
Teacher  sings  to  la,  pupils  giving  the  sign  for  each  tone. 
I  will  indicate  the  tones  in  yet  another  way.    I  will  let 
d  stand  for  Doh,  m  for  3Ie  and  s  for  Soh. 

Teacher  writes  the  following  exercise  or  a  similar  one. 


You  may  sing  the  lesson  as  written  and  you  will  b 
singing  from  the  Tonic  Sol-fa  Notation. 

The  following  exercises  may  now  be  written  upon  the  board 
and  practiced,  or  they  may  be  sung  from  the  book, — first  to 
the  syllables  and  then  to  la.  "Key  C,"  "Key  G,"  etc.,  will 
tell  the  teacher  where  to  pitch  his  Doh.  Although  there  is  no 
indication  of  time  in  these  exercises,  they  all  have  a  melodic 
form  and  should  be  sung  with  a  rhythmic  flow.  They  may  be 
sung  as  fast  or  as  slow  as  the  teacher  likes;  he  can  indicate  the 
time  by  gentle  taps  on  the  table. 


Ex.  9. 

KET  D. 

d 

d 

PI 

d 

PI 

m 

s 

PI 

s 

s 

PI 

PI 

s 

PI 

d 

Ex.  10. 

KEY  F, 

d 

PI 

s 

s 

PI 

d 

s 

s 

PI 

PI 

s 

s 

m 

s 

d 

Ex.  II. 

KET  C. 

d 

S 

PI 

s 

d 

d 

PI 

s 

PI 

d 

PI 

PI 

s 

PI 

d 

Ex.  12. 

KET  E. 

s 

PI 

d 

PI 

s 

s 

s 

PI 

s 

PI 

d 

PI 

s 

s 

d 

Ex.  13. 

KEY  G- 

PI 

d 

s 

PI 

PI 

d 

s 

PI 

PI 

PI 

s 

s 

PI 

s 

d 

Ex.  14. 

KET  E. 

n 

PI 

PI 

d 

PI 

PI 

PI 

s 

PI 

PI 

s 

PI 

d 

PI 

d 

Ex.  15. 

KET  C. 

d 

S 

PI 

d 

PI 

d 

s 

PI 

d 

PI 

d 

s 

PI 

s 

d 

Ex.  16. 

KET  D. 

d 

PI 

S 

PI 

s 

PI 

d 

s 

PI 

s 

d 

s 

d 

PI 

d 

4 


FIKST  STEP. 


Time  aad  Rhythm — measure — may  be  introduced  here  if 
the  teacher  thinks  best.    For  method  see  page  5. 

The  upper  octave  of  Doh  may  now  be  taught  by  the  name 
process  as  that  used  for  Me.  When  the  pupils  have  discovered 
the  new  tone  the  teacher  may  proceed  as  foUows: 

Is  the  new  tone  higher  or  lower  than  Doh? 
Is  it  higher  or  lower  than  Mef 
Higher  or  lower  than  Soh'i 

The  name  of  the  new  tone  is  Doh.   What  is  its  name  ? 

You  may  think  it  strange  that  we  have  two  tones  with 
the  same  name,  but  it  will  be  explained  a  httle  later  in  the 
course. 

NOTB. — The  nature  of  octaves  can  be  better  explained  after  the  oom- 
plete  scale  has  been  tanght. 

Where  shall  I  write  it  on  the  board  ? 
Ex.  17.    EEYs  C  and  D. 

d  n  s  d' 

d'  s  PI  — 

m  d'  s  — 

d'  s  PI  d 

After  a  thorough  drill  upon  the  tones  by  pat- 
tern, from  the  Modulator,  Hand-Signs  and  so  on,  the 

Ex.  18.     KEY  D. 

d       d  PI 

Ex.  19.     KEY  C. 

d       s  PI 

Ex.  20.    uKy  C. 

d'       s  PI 

Ex.  21.     KEY  D. 

d        PI  s 


I  need  not  write  it  in  full*  the  first  letter  will  be  suf- 
ficient. 

Teacher  writes  a  d  in  the  proper  place. 

In  writing,  the  Upper  Doh  is  indicated  by  the  figure  1 
placed  at  the  top  of  the  letter  thus,  d',  and  is  called  One- 
Doh.  While  we  are  practicing  this  new  tone  I  want  you 
to  be  thinking  about  its  mental  effect;  compare  the  Upper 
Doh  with  the  lower  and  notice  whether  it  has  the  same 
effect,  or  if  it  is  stronger  or  firmer.' 

Let  the  new  tone  be  practiced  in  connection  with  the  others, 
first  by  patterns  from  the  teacher,  and  then  from  the  teacher's 
pointing.  Then  let  the  teacher  by  questioning  develop  the 
fact  that  its  mental  efifect  is  the  same  as  the  lower  doh,  only 
stronger  or  more  positive.  The  manual  sign  for  d'  is  the  same 
as  for  d  with  the  hand  raised.  The  following  exercises  are  given 
as  specimen  patterns  for  the  teacher.  Sing  them  first  to  the  sol- 
fa  syllables,  and  afterwards  to  la. 


SOH 


ME 


DOH 


d' 

s 

PI 

d 

d' 

s 

d' 

d' 

PI 

s 

s 

di 

PI 

di 

d 

s 

d 

di 

PI 

di 

PI 

s 

d' 

s 

PI 

following  exercises  may  be  written  upon  the  blackboard  and 
practiced  or  they  may  be  sung  from  the  book. 


PI 
S 
PI 

di 


d 
d' 
d' 
d' 


PI 


s 


PI 


s 
di 


d' 
PI 
di 


s 


s 


PI 


n 


s 
di 


d' 


d 
di 
d 
d 


The  teacher  may  now  explain  the  lower  octave  of  Soh  by 
simply  stating  that  as  we  have  an  Upper  Doh,  so  we  may  also 
have  a  Lower  Soh.  It  is  indicated  in  the  notation  by  the  figure 
1  placed  at  the  bottom  of  the  letter  thus,  s,,  and  is  called  Soh- 
One.  Its  mental  effect  is  the  same,  only  somewhat  subdued. 
The  hand  sign  for  s,  is  the  same  as  for  s  with  the  hand  lowered. 


Let  Soh- One  be  practiced  after  the  same  manner  as 
that  pursued  with  the  One-Doh,  only  taking  a 
higher  pitch  for  the  key  tone. 

The  following  exercises  are  patterns  for  the 
teacher. 


Ex.,  22.    KEYS  F,  A  and  G. 


PI 


d  — 
d  Si 


PI 
d 

KEV  D. 


S 


n 


m 
d' 


d 
d 


PI 


SOH 


ME 


DOH 


ETEST  STEP. 


6 


The  class  is  now  ready  to  practice  the  following  exercises. 


d 

Ex.  23. 
S| 

KEY  F. 

d 

m 

s 

s 

PI 

d 

d 

S| 

d 

PI 

s 

8| 

d 

d 

Ex.  24. 

d 

KEY  A, 

m 

d 

S| 

S| 

n 

d 

n 

PI 

s 

PI 

d 

S| 

d 

n 

Ex.  25. 

m 

KEY  G. 

d 

s 

s 

PI 

d 

s 

PI 

d 

S| 

m 

S| 

d 

s 

Ex.  26. 
S 

KEY  F. 
PI 

d 

PI 

d 

s 

s 

PI 

d 

Sl 

s 

d 

TIME  AND 

Note. — The  Tonic  Sol-fa  treatment  of  the  subject  of  Time  (Rhyth- 
aiics),  differs  essentially  from  that  which  has  nsaaUy  prevailed  in  this 
coontrji  Here  the  measure  has  been  regarded  as  the  standard  or  nnit. 
In  the  Solfa  method,  the  pulse,  which  con-esponds  to  our  beat  or  part  of  the 
measure,  is  treated  as  the  unit;  and  time  is  measured  by  a  regmar  Recur- 
rence of  accent.  This  is  undoubtedly  the  true  philosophy.  In  fact  some 
prominent  teachers  in  this  country  have  already  developed  this  theory  in 
their  later  works.  There  are  several  ways  in  which  this  subject  may  be 
presented  to  a  class.  The  following  will  serve  as  an  illustration  of  one 
way,  which  the  teacher  may  vary,  or  condense  or  enlarge  as  he  may  deem 
best. 

Listen  to  me,  I  will  sing  a  familiar  tune,  and  as  I  sing 
I  wish  you  to  observe  that  there  will  occur  in  your  minds, 
at  regular  intervals,  a  throb  or  pulsation  of  some  kind  that 
keeps  time  with  the  music. 

The  teacher  sings  to  la  a  familiar  tune  such  as  "  Haste  thee 
^Vinter," — 

|d:d|s:s|l:l|s:  — |f:f|m:mir:r|4:  — ll&c. 
jr  "Vesper  Hymn," — 

|p\:slf:s|m:s|r:s|m:sif:r|d:t||d:  —  II 
bringing  out  the  strong  accent. 

Those  who  noticed  the  throbs  or  pulsations  may  hold 
up  hands. 

I  will  sing  again  and  will  indicate  these  pulsations  by 
taps  upon  the  table,  and  you  may  indicate  them  by  some 
motion  of  your  hands. 

He  sings  again,  giving  a  tap  for  each  strong  accent,  the  pu- 
pils making,  perhaps,  a  downward  motion  of  the  hand. 

These  throbs  or  heavy  tones  are  called  accents.  What 
are  they  called  ? 

I  will  sing  again  and  you  will  notice  that  after  each  of 
these  accents  there  occurs  a  second  pulsation,  but  of  less 
force. 

He  sings  again,  giving  a  heavy  tap  for  the  strong  accent  and 
a  Ught  tap  for  each  weak  accent. 

How  many  noticed  the  light  throbs  ? 

The  heavy  pulsations  are  called  strong  accents,  and 
the  light  ones  are  called  weak  accents. 

How  many  kinds  of  accents  have  we  ? 

I  will  sing  again  and  you  may  indicate  every  accent, 
strong  or  weak,  by  some  motion  of  your  hand. 


RHYTHM. 

The  pupils  may  be  directed  to  make  a  downward  motioa 
for  the  strong  accent  and  an  upward  motion  for  the  weak  accent. 
These  motions  are  not  absolutely  essential  and  they  are  not  in- 
tended as  an  exercise  in  beating  time,  but  merely  as  a  means  for 
the  pupils  to  show  to  the  teacher  that  they  recognize  the  accents. 

Listen  again — this  time  I  will  occasionally  stop  singing 
to  show  you  that  the  accents  may  go  on  in  the  mind  with- 
out the  music. 

In  this  exercise  the  teacher  will  occasionally  stop  singing 
for  a  measure  or  two  but  keeps  on  tapping  in  regular  time. 

I  wUl  now  show  you  that  the  accents  will  move  quickly 
or  slowly  as  the  music  goes  fast  or  slow. 
Teacher  illustrates  this. 

You  learn  from  all  these  examples  that  time  in  musi-  i 
is  measured  by  regularly  recurring  accents. 
How  is  time  measured  in  music  ? 

The  time  from  one  strong  accent  to  the  next  strong  ac- 
cent is  called  a  measure. 
What  is  it  called? 
What  is  a  measure  ? 

The  time  from  any  accent,  strong  or  weak,  to  the  next, 
is  called  a  Pulse. 

What  is  it  called?    What  is  a  Pulse ? 
Listen  to  me. 

He  sings  a  number  of  measures  to  la,  two  tones  to  each  meas- 
ure, accenting  distinctly,  thus,  Za  la,  Za  la,  etc. 

.,  After  each  strong  pulse  how  many  weak  pulses  were 
there? 

Yes,  they  were  regularly  strong,  loeo^,  strong  weak,  etc 
Listen  again. 

This  time  he  accents  the  first  in  every  three,  thus,  2a  la  la, 
la  la  la,  etc. 

How  many  weak  pulses  followed  each  strong  pulse  ? 
Yes,  they  were  regularly  strong,  loeak,  weak,  strong, 
■weak,  weak,  etc. 


6  •  FIEST 

Different  arrangements  of  the  order  of  accents  makes 
different  kinds  of  measure. 
]      What  makes  different  kinds  of  measure  ? 

A  measure  consisting  of  two  pulses,  one  strong  and 
one  weak,  is  called  Two-pulse  measure.  What  is  it  called? 

A  measure  consisting  of  three  pulses,  one  strong  and 
two  weak  is  called  Three-pulse  measure.  What  is  it  called? 

Listen  to  me  and  tell  me  which  kind  of  measure  you 
near. 

Teacher  sings  a  number  of  measures  to  la,  accenting  dis- 
tinctly, changing  occasionally  from  two-pulse  to  three-pulse 
measure  and  back  again,  the  pupils  calling  out  "  two-pulse," 
"three-pulse,"  at  each  change.  Or  he  may  sing  a  familiar  tune 
in  each  kind  of  measure  and  require  the  pupils  to  tell  which 
kind  of  measure  the  tune  is  in. 

Note. — In  the  Standard  Course  of  the  Tonic  Sol-fa  Method  the  pnpils 
are  not  taught  to  beat  time  until  the  fourth  step.  Mr.  Curwen  says — "  Pu- 
pils should  not  be  allowed  to  "beat"  time  until  they  have  gained  a  sense 
of  time.  *  *  *  Because  uo  one  can  well  learn  two  things  at  once,  and,  con- 
sequently, those  who  try  to  do  so  are  constantly  found  beating  to  their  sing- 
ing instead  of  singing  to  an  independent,  steady  beat.  *  •  *  Beating  time 
can  be  of  no  use — 13  only  a  bui  den  to  the  pupil  in  keeping  time,  till  it  has 
become  almost  automatical,  until  "the  time  beats  itself,"  and  you  know 
that  your  beating  will  go  right  whatever  becomes  of  the  voice.  Then,  and 
not  till  then,  the  beating  becomes  an  independent  test  of  the  singing." 

American  teachers,  however,  are  so  accustomed  to  teaching  counting 
and  beating  time  from  the  beginning  that  the  teacher  may  introduce  it 
here  if  he  prefers — not  as  a  teat  in  singing,  but  as  a  separate  exercise  as  a 
means  or  a  help  in  developing  the  sense  of  time.  In  two-pulse  measure 
the  countings  are  one  two,  one  two,  &c.,  and  the  motions  of  the  hand  are 
down  up,  down  up,  &c.  In  three-pulse  measure  the  countings  are  onetwo 
three,  one  two  three,  &c.,  and  the  motions  are  down  left  up,  down  left  up, 
ic,  or  dotcn  right  up,  &c. 

In  practicing  exercises  in  time  it  is  useful  to  have  names 
for  the  different  lengths.  The  time-name  of  a  tone  one 
pulse  long  is  Taa*  or  Taa-ai.* 

The  "ai"  is  only  needed  when  the  pupils  fail  to  prolong 
the  tones  their  full  length. 

When  we  wish  to  indicate  the  strong  accent  we  insert 
the  letter  R,,  thus,  Traa. 

This  indication  of  the  strong  accent  by  the  letter  E  is  use- 
ful in  the  first  teaching  of  accent,  and  later  on  in  dictation. 

You  may  sing  in  two-pulse  measure,  one  tone  to  each 
pulse  thus,  Traa  Taa,  Traa  Taa,  &c. 

Let  this  be  kept  going  until  all  get  into  the  "swing"  of  the 
rhythm — alternate  measures  may  then  be  sung  by  the  teacher  and 
class  or  by  two  divisions  of  the  class,  being  careful  to  keep  a 
steady  rate  of  movement.  Then  let  it  be  done  with  a  different 
rate.  In  this  exercise  be  careful  to  have  each  pulse  sung  fully 
to  the  end.  If 'it  is  not  done  so,  the  second  vowel,  ai,  must  be  add- 
ed. Later  on  when  the  pupils  have  learned  to  hold  the  tones  to 
their  fuU  length  the  ai  may  be  omitted. 

Let  us  try  two-pulse  measure  again,  but  this  time  begin 
with  the  weak  pulse,  thus,  Taa  Traa,  Taa  Traa,  &c. 

Let  this  be  practiced  as  above. 
I      When  the  measure  begins  with  the  strong  pulse  it  is 
,  called  the  primary  form  of  the  measure.    What  is  it  called  ? 

*  Aa  as  in  father — ai  as  in  pail. 


STEP. 

When  is  a  measure  in  the  primary  form  ? 

When  the  measure  begins  with  a  weak  pulse  it  is  called 
the  secondary  form.  What  is  it  called?  When  is  a  meas- 
ure in  the  secondary  form  ? 

Three-pulse  measure  may  next  be  practiced  with  the  sam* 
process  as  that  just  given  to  the  two-pulse  measure,  or  it  may  ba- 
defered  until  later. 

I  will  now  write  a  number  of  pulses  on  the  blackboard 
and  you  may  sing  them  as  I  direct. 
Teacher  writes  thus  : — 

Taa    Taa    Taa    Taa    Taa    Taa    Taa  Taa 
You  may  sing  them  in  two-pulse  measure  commencing 

with  a  strong  pulse. — 

Teacher  indicates  the  time  by  a  gentle  tap  of  the  pointer  on 

each  pulse. 

Again,  commencing  with  a  weak  pulse. — 
Teacher,  if  he  chooses,  may  have  them  sung  in  three-pulse 
measure. 

You  see  that  as  the  exercise  now  stands  there  is  noth- 
ing on  the  board  to  tell  us  which  are  the  strong  and  which 
are  the  weak  pulses.  In  the  Sol-fa  notation  an  upright  bar 
( I )  shows  that  the  pulse  following  it  is  to  have  the  strong 
accent;  the  weak  accent  is  indicated  by  two  dots  (:)  and 
the  Double  Bar  (||)  shows  the  end. 

Teacher  while  he  is  making  the  above  statement  inserts  th© 
accent  marks  as  follows: — 

I  Taa  J  Taa  |  Taa  :  Taa  i  Taa  :  Taa  |  Taa  :  Taa  || 

What  does  the  bar  indicate  ? 

How  is  the  weak  accent  indicated? 

What  does  the  double  bar  show? 

The  accent  marks  are  placed  at  equal  distances  of  spacf 
and  thus  represent  the  equal  divisions  of  time. 

The  space  from  one  accent  mark  to  the  next,  strong  or 
weak,  represents  the  time  of  a  pulse,  and  the  space  between 
the  bars  represents  the  time  of  a  measure. 

What  represents  the  time  of  a  pulse  ? 

What  represents  the  time  of  a  measure? 

You  may  now  sing  the  exercise  as  written. 

After  it  is  sung  cdrrectly,  at  different  rates  of  movement, 
the  teacher  wiU  write  an  exercise,  ,  beginning  with  the  weak  pulse, 
thus: — 

:  Taa  |  Taa  :  Taa  |  Taa  :  Taa  |  Taa  :  Taa  |  Taa  || 

Let  this  be  practiced  at  different  rates  of  movement  from 
the  teacher's  patterns.  Then  each  exercise  should  be  sung  to  la, 
teacher  writing  a  "la"  under  each  taa.  Then  erasing  the  las 
and  putting  a  d  in  each  pulse  sing  doh.  Then  again  with  thii 
following  or  similiar  successions. 

j  Taa  :  Taa  |  Taa  :  Taa  |  Taa  :  Taa  |  Taa  :  Taa  II 
id        dis        s      IP)       mid  dli 


FIBST  STEP. 


7 


Teacher  will  next  erase  the  Sol-fa  notes,  leaving  the  taas. 
I  will  sing  the  exercise,  and  if  I  make  a  mistake,  you 
may  say  wrong. 

Teacher  sings  it  the  first  time  correctly  ;  second  time  with 
wrong  accent,  and  the  third  time  he  makes  a  mistake  in  the  sec- 
ond measure— prolonging  the  tone  through  both  pulses,  at  which 
the  pupils  will  say  "wrong." 

Which  measure  was  wrong? 

How  many  tones  are  indicated  in  the  second  measure  ? 

How  many  did  I  sing? 

Was  it  a  long  tone  or  a  short  tone? 

How  long  was  it  ? 

Yes,  I  continued  the  tone  through  the  second  pulse — 
made  it  two  pulses  long.  It  is  called  a  two-pulse  tone. 
What  is  it  called? 

When  a  tone  is  continued  from  one  pulse  into  the  next 
the  continuation  is  indicated  by  a  horizontal  Une,  thus, — 
The  time-name  for  continuations  is  obtained  by  dropping 
the  consonant,  thus,  Taa-aa. 

The  teacher,  as  he  makes  these  statements,  changes  the  sec- 
ond and  fourth  measures  so  they  appear  thus: — 

I  Taa  :  Taa  I  Taa  :  -aa  |  Taa  :  Taa  |  Taa  :  -aa  || 


Teacher  pointing  to  the  continuation  mark,  asks: — 

What  does  this  horizontal  line  indicate  ? 

How  are  the  time-names  for  continuations  obtained?' 

How  long  must  this  tone  be? 

What  is  the  time-name  of  a  two-pulse  tone  ? 

A  convenient  short  name  for  two-pulse  tones  is  Twos. 
What  will  be  a  good  short  name  for  one-pulse  tones  ? 

In  the  lesson  now  on  the  blackboard  what  kind  of  tones 
are  required  in  the  first  and  third  measures?  Ones. 
In  the  second  and  fourth?  Twos. 
I  will  sing  the  lesson  first  and  then  you  may  try  it. 

If  the  pupils  fail  to  prolong  the  tones  their  full  length,  the- 
vowel  Ai  should  be  added,  thus  |  Taa-ai:  -aa-ai.  When  the  les- 
son has  been  sung  correctly  to  the  time-names  and  at  different 
rates,  it  should  be  sung  to  la,  the  teacher  indicating  la  by  an  1 
under  the  time-names. 

Then  he  may  change  the  measiires  so  as  to  obtain  the  fol- 
lowing or  similar  rhythms.  Each  exercise  should  be  sung 
several  times — to  the  time-names — to  la — and  at  different  rates 
of  speed.  They  may  also  be  sving  in  tune,  the  teacher  writing 
the  Sol-fa  letters  under  the  time-names  as  has  been  already  sug- 
gested. 


Ex.  27. 
Taa  Taa 

1  :1 


Taa 
1 


Taa 
1 


Taa  -aa 

1     :  — 


Taa 
1 


Ex.  28. 

Taa  -aa 

1      :  — 


Taa     Taa    I  Taa     Taa    i  Taa 


1  11 


1     :  — 


Ex.  29. 

I  Taa  -aa 

1     :  — 


Taa 


Taa     Taa  |  Taa 

1     :1  1 


Ex.  30. 

Taa  -aa 


1     :-  1 


Taa  Taa 


Taa 


11:- 


Ex.  31. 
Taa   I  Taa 
•1  |l 

Ex.  33. 
Taa     I  Taa 
.1  1 


Taa 
1 


Taa 
1 


Taa 

;  1 


I  Taa 
ll 


-AA     I  -AA      Taa     I  Taa 

-    1  -    :1  1 


-AA     I  Taa 


It  is  not  important  to  dwell  on  the  secondary  forms  of  the  meaa- 
are  or  on  three-pulse  measure  at  this  point.    To  practice  three- 


Taa 

:  1 


Ex.  32. 

Taa    I  Taa 

:1  ll 


Taa 
1 


Taa 
1 


Taa 
1 


Taa 
1 


Taa 
1 


Taa 


Taa 
1 


Taa 
1 


pulse  measure  the  teacher  will  write  the  following  exercise  on  the 
board. 


I  Taa    :  Ta*    :  Taa   |  Taa    :  Taa    :  Taa    I  Taa    :  Taa    :  Taa    |  Taa    :  Taa    :  Taa 


Let  it  be  sung  with  clear  accent  to  the  time-names  and  to 
la;  then  the  teacher  will  change  the  measures  so  as  to  obtain 


the  followiag  rhythms.  Each  exercise  should  be  sung  to  tht 
time-names,  to  la,  etc. 


Ex.  34. 

Taa     ■  Taa 

1  :I 


Taa 

:1 


I  Taa 
11 


-AA  Taa 

—     :  1 


[  Taa 
1 


Taa 

:1 


Taa 

:1 


Taa 
1 


-AA  Taa 

:—  :1 


FIBST  STEP. 


Ex.  35. 

Taa.  Taa 

1  :1 

Ex.  36. 

I Taa  -aa 
1 

Ex.  37. 
Taa      I  Taa 
:1  |l 

Ex.  38. 
Taa      I  Taa 
^1  |l 

Ex.  39. 
Taa      I  Taa 

:  1 


Taa 

;1 


Taa 

;  1 


Taa 

:  1 


Taa 

1 


Taa 
1 


Taa 

ll 


Taa 
:1 


1       :  — 


Taa 

1 


Taa 
1 


Taa 
1 


Taa 
1 


Taa 

:1 


Taa 

:1 


The  pupils  Me  now  prepared  to  take  up  the  following  lea- 
Bons.  It  will  be  observed  that  here  is  an  abundance  of  exer- 
cises, but  the  teacher  must  not  feel  compelled  to  dwell  upon  aU 
that  are  here  given,  he  selects  only  such  as  his  class  may  require. 
A  bright,  smart  class  may  sing  through  all  of  these  exercises  to 
advantage,  while  a  dull,  slow  class  will  positively  need  them. 

Two-part  Singing.— It  is  at  first  very  difficult  for  pupils 
to  sing  independently  one  of  another.  The  simplest  form  of 
two-pMt  singing  is  that  in  which  one  division  of  the  clas%re- 
peatedly  strikes  the  same  tone  ("tolls  the  bell"),  while  another 
division  sings  the  tune,  as  in  exercises  40  to  42.  Each  part 
should  be  sung  separately  by  all  the  class  before  singing  the  two 
together.  These  early  exercises  are  best  suited  for  those  classes 
in  which  the  voices  are  all  of  the  same  sort,  that  is,  all  men's 
voices,  or  else  all  women's  or  children's  voices.    K,  however,  the 


Ex. 

40. 

KEY  D. 

d 

:d 

s 

d 

:d 

d 

Ex. 

41. 

KEY  F. 

d 

m 

d 

:d 

d 

Ex. 

42. 

SET  C. 

d 

:d 

m 

d 

d 

:  s 
:d 

:d 
:d 


rn 


s 
d 

s 
d 


:  m 


s      :  — 


Taa 

1 


Taa 
1 


Taa 

;1 


Taa 

:  1 


Taa 
:  1 


Taa 
1 


Taa 
1 


Taa 
1 


Taa 
1 


Taa 

;1 


Taa 
1 


Taa 
1 


Taa 
:  1 


Taa 
1 


Taa 

1 


Taa 

;1 


Taa 
:  1 


Taa 

:1 


Taa 

:1 


-     :-  I 


Taa  -aa 

1       :  — 


Taa 
1 


Taa 
1 


class  is  a  mixed  one,  the  ladies  may  take  one  part  and  the  gentle- 
men the  other,  or,  better  stiU,  half  the  gentlemen  and  half  the 
ladies  may  sing  each  part.  As  soon  as  an  exercise  is  sung,  it 
should  be  sung  over  again,  exchanging  the  parts. 

The  teacher  will  explain  that  Braces  are  used  both  at  the 
beginning  and  ending  of  lines  to  show  what  parts  of  the  music 
may  be  sung  together. 

The  teacher  may  explain  that  music  is  naturally  divided 
into  short  portions  or  phrases.  Just  before  beginning  a  phrase 
is,  musically  considered,  the  best  place  to  take  breath.  Where 
words  are  sung,  the  breath  must  be  taken  with  reference  to  the 
sense  of  the  words.  More  on  this  subject  in  the  following  stepa 
The  dagger  (f)  shows  where  breath  may  be  taken. 

Exercises  40  to  46  consist  only  of  the  tones  d  m  a,  in  two- 
pulse  measure. 


PI 

d 

n 
d 


:d  d 

t 

n 
d 

n 
d 


:d 


:d 


:  n 


:  PI 


:  s 


:d 


d 
d 

s 
d 


m 


s  :  — 
d  :d 


:d 


d  :  — 

d  :d 

d  :  — 

d  :d 


d 
d 


rrmrr  STEP. 


Ex.  43.   SBX  L. 


li 


:d 
:d 


s 
n 


Ex.  44.   KEY  D. 


:  n 


Ex.  45.   KEX  F. 


s  :  m 
d     :  — 


n 
d 

d 
n 

:  n 
:d 


:  n 
:d 

:  n 


s  :  — 
n     :  — 

s      :  — 


n 
d 

s 
n 


:  n 

:d 

:  n 


;  8 

!  m 

m 


t 


PI     :  — 


:  n 
:d 


Ex.  46.   KEY  F.   May  be  sung  as  a  Bound  in  tkree  parts. 

t   *  t 

d     :d     Id     :—    |m     :ni     |m     :  —    Is  :8 

I  Day      has     |  gone,  |  night     is      |  come,  |  Now  each 


d 

:  n 

s      :  s 

loved  one 


PI 

d 

s 
m 

s 
n 


d 

wel 


:s 

:  n 

:  n 
:  s 

n 
d 


:d 

come 


d     :  — 

home. 


WTien  the  first  division  reaches  the  note  tmdor  the  asterisk  (*)  the  second  division  strikes  in  at  the  beginning;  the  third  divis- 
ion begins  when  the  second  has  reached  the  asterisk,  and  so  on. 

Exercises  47  to  51  include  the  tones  d  n  s  d',  in  two-pulse  measure. 
Ex.  47.    KEY  D. 


d  :d 
d  :d 

Ex.  48.    KEY  D. 

d     :  m  s 


t 


n 
d 

PI 
d 


Ex.  49.     KEY  C. 


:  PI 


:  s 
:d 

:  m 
:d 

:d' 


d 

d' 
d 

d* 


d> 
d 

d' 
d 

d' 
PI 


:d' 
:d 

:  8 
:d 


:  PI 
:d 

:  s 
:d 

:  m 


s 
d 

s 
d 

PI 
d 


:  8 
:d 

:  PI 
:d 

:d 


d  : 

d  : 

d  : 

d  : 

d  : 


Ex.  50.    KEY  C. 


d  :d 
d  :d 

Great  and 
Trees  and 


n 


n 


d  :d 

good  is 
birds  and 


8     : 8 
PI     :  PI 

God  our 
flow'rs  de  ■ 


d' 

:  s 

d' 

:  8 

n     :  — 

PI 

:  8 

d     :  — 

n 

:  PI 

PI 

:  n 

d     :  — 

d 

:  m 

d     :  — 

Fa  . 

ther, 

Great 

a&d 

good. 

great 

and 

good. 

dare 

Him 

Great 

and 

good, 

great 

and 

good. 

10 


FIRST  STEP. 


Ex.  51.    KEY  D.    Bound  for  four  parts. 


s 

m 

:  d 

m 

:  s 

dl 

:d!  ' 

s 

:  s 

8 

:  s 

S 

s     :  — 

in 

sing  - 

ing 

t 

Hal  ■ 

le  - 

lu 

-  jahl 

Hal 

.  le  - 

lu 

jah ! 

A 

men. 

m 

n 

:  m 

n 

:fi 

d 

:  n 

S 

:  m 

d 

d  :- 

men, 

Hal 

-   le  - 

lu  ■ 

jahl 

Hal 

.    le  - 

lu 

Jah! 

A 

men. 

Exercises  52  to  55  consist  of  the  tones  d  m  b  d',  in  three-pulse  measure.  If  three-pulse  measure  has  not  yet  been  taught  these 
four  exercises  may  be  deferred. 


Ex.  52.  KEY 
Q      .  U     .  U 

D. 

n    .  I'l 

'  m 

d 

;  PI 

'.  s 

d' 

.  t 

d' 

:d' 

:  d: 

8 

s    :  8 

d' 

s 

:m 

d 

d  :  d  :  d 

d 

n 

'.  n 

'.  n 

n 

n 

:n 

:n 

n 

n 

:  8 

:  m 

d 

.   .  

Ex.  53.  KEY 

d  :d  :d 

c. 

n  :— 

.  t 

m 

:  m 

:  m 

8  : 

— 

.  t 

8 

:  s 

:  s 

d' 

:d'.  :d: 

s 

:  8 

:  8 

d 

:—  :  — 

d  :-  :d 

d  :— 

d 

:— 

:  d 

n 

!  — 

m 

:  m 

n 

:—  :  m 

m 

:  m 

d 

•  * 

Ex.  54.  KEY 

d  :  n  :  d 

c. 

s   : — 

._t 

S 

:  m 

:  8 

dl 

:— 

.  t 

8 

:  d' 

:  8 

m 

:  s   :  m 

d 

:n 

:  s 

d! 

:—  :— 

d  :-  :d 

n 

m 

:— 

:  n 

m 

; — 

n 

:  n 

d 

:-  :  d 

d 

:  n 

d 

• 

Ex.  55.  KEY 

d   :m  :8 

D. 

8    :  m 

:  d 

m 

:— 

:  s 

m 

:— 

t 

m 

:  8 

:  dl 

d' 

:  8  :  m 

8 

:— 

:m 

d 

:—  :— 

d   :—  :— 

d 

:— 

:— 

— 

:— 

:— 

m 

— 

: — 

n 

'. — 

d 

Exercises  56  to  58  include  sj. 

Ex.  56.  KEY 

1  d  '.m 

F. 

s  : 

n 

d 

PI 

8 

_  f 

n 

d 

s 

:m 

s 

8 

d 

1  d  :d 

si  Isi 

d 

d 

Si 

d 

d 

n 

:n 

d 

si 

d 

Ex.  57.  KE^ 
d  :- 

D. 

n  : 

S 

s 

d' 

t 

d! 

8 

m 

8 

d 

d      :  d 

si  : 

S'l 

m 

d 

n 

:n 

d 

:n 

si 

d 

Ex.  58.  KEi 

d  :- 

r  G. 
B 

n 

d 

t 

s 

m 

s 

m 

d 

d  :- 

m 

m 

d 

si 

d 

m 

:m 

d 

:  d 

si 

S  i 

d 

riBST  STEP. 


11 


Half-pulse  Tones  may  now  be  taught,  or  if  the  teacher 
prefers,  they  may  be  transferred  to  the  next  step. 

The  following  lesson  may  be  written  on  the  board, 

il      :I      II      :1      U      -.1      II      :1  II 

a"^d  after  it  is  sung  correctly  the  teacher  may  say : 

I  will  sing  the  lesson  and  if  I  make  a  mistake  you 
may  say  wrong. 

He  may  sing  it  correctly  the  first  time ;  with  wrong  accent 
the  second,  and  the  third  time  he  sings  two  tones  in  the  iirst 
pulse  of  the  second  measure  at  which  the  pupils  will  say 
wrong. 

Which  measure  was  wrong  ? 

Which  pulse  of  that  measure  ? 

How  many  tones  are  indicated  in  that  pulse  ? 

How  many  did  I  sing  ? 

Two  tones  sung  in  the  time  of  one  pulse  are  called 
Half-pulse  Tones  or  Halves. 
What  are  they  called  ? 


The  time-name  of  the  first  half  is  Taa — of  the 
second  half  Tai.  What  is  the  time-name  of  the  first 
half  ?    Second  half  ? 

The  sign  for  an  equally  divided  pulse  is  a  dot  in 
the  middle,  thus,  |  .  : 

The  teacher  changes  the  measures  to  obtain  the  following 
rhythms.  They  should  be  practiced  carefully — from  the  teacher's 
patterns — to  the  time-measures — to  la,  etc. 

The  Finger  Signs  for  time  (Taa,  Taatai  and  Taa-aa) 
may  be  introduced  here  with  good  effect.  These  signs  are  gen- 
erally given  with  the  left  hand,  to  distinguish  them  from  the 
Hand  Signs  for  Tune,  which  are  chiefly  given  with  the  right. 
Of  course  the  teacher  may  use  his  right  hand  if  he  finds  it  easier. 
The  back  of  the  hand  is  toward  the  pupils,  and  the  thumb  should 
not  be  seen,  for  we  never  divide  a  pulse  into  five  equal  parts. 
The  time  may  be  marked  either  by  slight  forward  and  backward 
movements  of  the  hand,  or  by  the  right  hand  tapping  the  pulses 
on  the  top  of  the  left  or  beating  time  in  the  regular  way  close 
by. 

The  Time  Chart  also  affords  a  most  excellent  means  for 
drilling  a  class  in  time.  It  is  to  Time  what  the  modulator  is  to 
Tune. 


Taa 

Taa 

Taa 

-  TAI 

Taa 

Taa 

Taa 

Taa 

-AA 

1 

:1 

1 

.1 

:1 

1 

:1 

1 

Taa 

Taa 

Taa 

-  TAI 

Taa 

Taa 

-  TAI 

Taa 

-  TAI 

Taa 

-AA 

1 

:1 

1 

.1 

:1 

1 

.1 

:1 

.1 

1 

d 

:m 

8 

.  8 

:m 

s 

.  8 

:n 

.  m 

d 

d 

:  B 

m 

.  8 

:  d 

m 

.d 

:  8 

.  m 

d 

Taa 

Taa 

Taa 

-  TAI 

Taa 

Taa 

-  TAI 

Taa 

-  TAI 

Taa 

-  TAI 

Taa 

1 

:1 

1 

.1 

:l 

1 

.1 

:1 

.1 

1 

.1 

:1 

d 

:n 

8 

.  m 

:d 

s 

.  m 

:  s 

.  m 

8 

.  m 

:d 

d> 

:  s 

m 

.8 

:d' 

d' 

.  s 

:  m 

.  s 

S 

.n 

:d 

Taa 

Taa 

-  TAI 

Taa 

Taa 

-  lAI 

Taa 

-  TAI 

Taa 

-  TAI 

Taa 

-AA 

1 

:1 

.1 

1 

:1 

.1 

1 

.1 

:1 

.1 

1 

d 

:n 

.8 

d' 

:  8 

.  m 

s 

.m 

:s 

.  m 

d 

d 

:  8, 

.8, 

d 

•  PI 

d 

.d 

:s, 

.  n 

d 

Taa  -  TAI 

Taa 

Taa 

-  TAI 

Taa 

Taa 

-  TAI 

Taa 

-  TAI 

Taa 

-  TAX 

Taa 

1  .1 

:1 

1 

.1 

:1 

1 

.1 

:1 

.1 

1 

.1 

:1 

KEY  F. 

Si       .  d 

:d 

S| 

.d 

:d 

s 

.  m 

:  s 

.  n 

d 

.d 

:d 

1.2 


FTRST  STEP. 


Taatai-ing  in  tune. — By  "taataing"  is  meant  singing  an 
exercise  (on  one  tone)  to  the  time-names,  just  as  "Sol-fa-ing"  is 
singing  to  the  Sol-fa  syllables.  "Taataing  in  tune  "  is  singing 
the  tune  to  the  time-names.  Mr.  Cui-wen  says  "Laaing  on  one 
tone  helps  to  form  that  abstract  idea  of  a  rhythm  which  is  de- 
Bired.  But  such  an  idea  is  never  truly  established  until  the  ear 
can  recognize  a  rhythm  as  the  same,  though  all  the  various  dis- 
guises which  different  tune-forms  put  upon  it.  To  learn  the  ab- 
stract you  must  recognize  it  in  many  concretes.  *  *  *  Ab  a  help 


to  this  distinct  conception  of  rhythm,  it  is  useful  to  taalai  each 
time-exercise  on  various  tune-forms." 

After  the  above  time-exercises  have  been  sung  to  the  time- 
names  and  to  la,  let  them  be  sung  to  the  tunes  printed  under 
each,  and  lastly  let  the  tunes  be  sung  to  the  time-names. 

Exercises  59  to  63  introduce  half-pulse  tones  in  two-pulse 
measure.  Each  exercise  should  be  taataid  on  one  tone  to  secure 
correct  rhythm. 


Ex.  59.     KEY  C. 


d 

d  .d 


:d 

:d.d 


s  .  s  :  m  .  s 
PI .  PI :  PI .  n 


t 

d'      :  — 

t 

PI      :  PI .  n 


d' .  s  :  PI .  s 
PI     :  PI .  PI 


:  PI 

:d  .  d 


PI.  PI  :s  .  s 


d  :  — 
d  :- 


Ex.  60.     KET  D. 

d  .  PI :  PI  d  .  PI  :  PI 
d  :d 


s  :s 
d  .  PI :  PI 


PI  :  — 
d      :  — 


PI .  s  :s 
PI      :  PI 


PI  .  s  :s 
m      :  PI 


d'  :s 
PI  .  s  :  s 


II 


Ex.  61.     KEY  D. 


d. d:d.  d 
d. d:d. d 


PI .  R  :  PI .  PI 
d .d  :d  .d 


s  .  PI :  d  .  n 
PI .  PI :  PI .  PI 


I  PI .  PI  :  PI .  PI 
Id.d  :d.d 


s  .  s  :  s  .  s 
PI .  PI :  PI .  PI 


d' .  s  :  n .  s 
PI  .  PI :  PI .  PI 


{1 
{1 

{I 
il 


Ex.  62. 

d     .  d 

What  a 


S 

On 


my 


Ex.  63. 

d  :d 

Roam  -  ing 


S 

Tra 


KEY  G. 

Round  in  four  parts. 

:d 

.d 

Id  .d 

:d  .d 

« 

1  ^ 

.  PI 

:  PI 

.  PI 

PI 

.  n 

:  PI 

.  PI 

clat 

-  ter! 

1  "SYhat's  the 

mat  -  ter! 

\  John 

-  ny's 

gone 

and 

1  spilt 

the 

bat 

-  ter 

:  s 

.  S 

:s, 

:si 

1' 

nice 

new 

1  clothes, 

oh. 

1  dear! 

oh. 

1  dear! 

KEY  G. 

Round  in  four  parts. 

:S| 

IPi  :- 

Id  :- 

1  ^ 

:  n 

1* 

:d 

in 

1  0 

ver 

1  mead    -  - 

1  0W8, 

Sing 

-  ing 

1  ev 

er 

1  gai 

■  |iy 

:  s 

.  S 

:  s 

.  S 

:  s 

.  S 

:  s 

la 

la 

\i 

la, 

ITra 

la 

la 

la 

lla 

la. 

Modulator  Voluntaries- — At  every  lesson  the  teacher 
■hould  drill  the  class  in  following  his  pointing  on  the  Modulator, 
toUhout  a  pattern.  This  exercise  is  called  a  Voluntary.  The  pu- 
pils most  be  taught  to  follow  promptly,  and  to  hold  the  tones 
as  long  as  the  pointer  stays  on  a  note.  The  teacher  must  be 
careful  not  to  vary  from  the  "Step"  at  which  the  class  is  en- 
gaged ;  that  is,  in  the  tirst  step  he  must  use  only  the  tones  d  m 
s  d'  8, ;  in  the  second  step  he  may  use  the  tones  d  Pi  s  t  r  and 
their  replicates,  but  not  f  and  1.  It  is  a  good  plan  to  cover  all  the 
eyllables  not  required  by  pinning  paper  over  them.    The  teach- 


er must  foUow  his  own  fancy  in  his  voluntaries,  taking  care  to 
adapt  them  to  the  capacity  of  his  class,  not  to  make  them  too 
difficult  nor  too  easy,  but  progressive  as  his  pupils  gain  faclity. 
He  should  make  them  as  beautiful  and  attractive  as  he  can,  in- 
troducing snatches  of  familiar  tunes  now  and  then;  and  above  all 
things  he  must  avoid  faUing  into  self-repeating  habits,  that  is, 
constantly  repeating  favorite  phrases  which  the  pupils  come  to 
know  by  heart.  The  teacher  is  recommended  to  practicehis  vol- 
untaries at  home;  write  them  down,  if  necessary,  and  commit 
them  to  memory.    See  the  pamphlet  "Hints  for  Voluntaries." 


FIRST 


STEP. 


The  Time  Chart  is  intended  to  be  used  for  time-volun- 
taries in  the  same  way  that  the  Modulator  is  used  for  tune-vol- 
uataries. 

The  Hand-Signs  in  connection  with  mental  effects  are 
to  be  used  at  every  lesson.  The  Finger- Signs  for  Time  are  also 
considered  very  useful  for  exercises  in  time. 

Mental  EflFects  should  be  frequently  reviewed,  accom- 
panied with  fresh  illustrations.  It  is  only  in  this  way  the  impres- 
sion can  be  deepened.  The  perception  of  mental  effect  is  at  first 
very  dim,  but  it  is  cumulative  and  the  more  attention  given  to  it 
the  clearer  and  stronger  it  becomes.  See  pamphlet  "Studies in 
Mental  Effect." 

Ear  Exercises. — At  every  lesson  the  teacher  will  exer- 
cise his  class  in  naming  the  tones  he  sings.  There  are  several 
ways  in  which  this  may  be  done.  First  way,  teacher  sings  sev- 
eral tones  to  figures  and  requires  the  pupil  to  tell  him  to  which 
figure  or  figures  he  sung  b  or  pi  etc.  Thus,  "Tell  me  to  which 
figure  I  sing  s  " — 

sings  d  in  ni  B  d —  or  d  d  n  d  s  n  d —  or  m  d  b  in  etc. 

12345  1234567  1234 

"Tell  me  to  which  figure  I  sing  d"— 

sings  B  PI  8  d  PI —  orpisdndspi  etc. 

12345  1234567 

The  same  process  is  given  to  other  tones.  Another  way,  the 
teacher  sings  the  tones  to  la  and  the  pupils  make  the  manual 
sign  for  the  tone  required.  Again,  the  teacher  gives  the  key- 
tone  and  chord  and  after  a  slight  pause  sings  to  la,  lo,  loo,  lai  or 
any  vowel  either  d  pi  s  d'  or  s,  and  requires  the  pupils  to  tell 
him  what  tone  be  sung,  thus :— 

|d      :-   |B      :pi     |d     :-  T*  II 

loo 

Again,  the  teacher  sings  to  la  and  the  pupils  name  or  give  the 
hand  signs  for  all  the  tones.  Again,  the  teacher  sings  two  or 
three  or  four  or  more  tones  to  la,  as,  d  pi  d  s,  etc.,  which  the  pu- 
pils repeat  after  him,  first  to  la,  then  to  the  Sol-fa  syllables. 
When  the  pupils  can  do  this  quite  readily  they  will  then  be  re- 
quired to  simply  give  the  names  without  singing  the  tones. 
The  teacher  may  then  sing  to  different  vowels,  as 

8  PI  s  d 
le      lo       lai  la 

and  the  pupils  give  the  names. 

In  time  ear-exercises  the  teacher  sings  two,  three  or  four 
measures  on  one  tone  to  la,  and  requires  the  pupils  to  teU  him  the 
length  of  the  tones  in  each  measure,  or  they  may  Taatai  or  write 
what  the  teacher  sings.    Again  the  teacher  sol-fas  a  short  exer- 


cise which  the  pupils  taatai  in  iunt.    It  is  a  great  advantage  when 
the  answers  to  these  ear  exercises  can  be  written  by  the  pupi 
and  afterward  examined  by  the  teacher  or  his  assistants.  Th 
answers  should  come  from  all  the  pupils,  not  merely  from  a  fe 
See  pamphlet  ' '  Hints  for  Ear  Exercises. " 

Writing  Exercises. — Notation  is  best  taught  by  writing, 
and  the  thing  noted  is  more  quickly  and  easily  practiced  when 
the  notation  is  clear  and  familiar  to  the  mind.  Hence  the  value 
of  writing  exercises.  The  teacher  instructs  his  pupils  to  draw 
on  slate  or  paper  four  (or  eight  or  sixteen)  measures  in  the  pri- 
mary (or  secondary)  form,  thus: — 

I    :    I  :    I    :    I    :    I  etc.,  or  :    |    :    |    :    |    :    |  || 

and  then  dictates  the  notes  to  be  written  in  each  pulse,  or  ha 
may  write  them  on  the  blackboard  for  the  pupils  to  copy. 

Dictation. — The  time-names  furnish  a  means  of  dictating, 
by  very  brief  orders,  one  pulse  at  a  time,  "Accent"  "Time " 
and  "Tune"  at  once.  The  following  example  would  be  dictated 
thus:  "Prepare  four  two-pulse  measures,  secondary  form." 
"Taa  soh-one,"  "Ts,ij.  doh,"  "TjulTai  me  doh,"  "Traa  so A-one," 
"Taa  doh,"  "Traatai  me  doh,"  "Taa  soh,"  "Tit^iA  doli." 

:■,       {d        -Pi.djB,       :d       |Pi.d:8        |d  y 

Pointing  from  Memory.— At  the  close  of  each  lesson 
the  pupils  should  take  pride  in  showing  their  teacher  how  many 
of  the  previous  exercises  they  can  point  on  the  Modulator  and 
Sol-fa  from  memory.  Musical  memory  should  be  cultivated 
from  the  first,  because  it  vdW  greatly  facilitate  the  progress  of 
the  pupil  in  future  steps,  and  vnll  be  of  constant  service  in  af- 
ter life.  To  encourage  this  exercise  the  pupils  should  be  provi- 
ded with  small  modulators  upon  which  they  can  practice  point- 
ing at  home.  WTiere  it  is  feasible  the  whole  class  should  be  sup- 
plied with  "Hand  Modulators"  and  point  and  sing  together, 
holding  their  modulators  in  such  way  that  the  teacher  can  over- 
look all. 

Writing  from  Memory. — Pupils  should  also  be  well 
practiced  in  writing  tunes  from  memory.  Even  where  it  is  diflS- 
cult  for  a  whole  class  to  point  on  their  modulators  from  memory 
at  the  same  moment,  so  as  to  be  seen  by  the  teacher,  it  is  not 
difficult  to  engage  a  whole  class  at  the  same  moment  in  writing 
from  memory  the  tunes  they  have  learned.  At  the  close  of  every 
lesson,  one  or  two  of  the  exercises  should  be  chosen  for  the 
memory  exercise  of  the  next  meeting.  The  pupil  (at  home) 
should  copy  that  exercise  six  or  ten  times  from  the  book,  until 
he  finds  by  testing  himself  that  he  can  write  it  from  memory. 

Keep  within  the  Step. — The  teacher  must  fully  under- 
stand that  in  all  these  exercises  he  must  keep  within  the  step  at 
which  the  class  is  engaged.  All  the  topics  of  the  step  should  be 
mastered  before  the  next  step  is  entered.  For  instructions  in 
Voice  Training,  Breathing  etc.,  belonging  to  this  Step  the  teacher 
will  consult  the  Standard  Course. 


14 


FIBST  STEP. 


QUESTIONS  FOR  WRITTEN  OR  ORAL  EXAMINATION. 

DOCTBINE. 


1  WTiat  are  the  first  three  tones  you  have  learned 
thus  farf 

S.  Which  of  these  is  the  lowest  tone  ?  The  next 
higher  f   The  highest  1 

3  Which  is  the  more  important,  the  relative  po- 
sition of  these  tones  or  their  mental  effects  t 

4.  What  is  the  mental  effect  of  Doh t   Of  Met 

Of  Soh  t 

5.  How  are  these  mental  effects  represented  to 

the  eyel 

6.  Besides  the  hand-signs  and  the  modulator  what 

other  way  have  we  of  indicating  or  writing 
the  tones  1 

7.  What  letter  represents  Doh  t   Me  t   Soh  t 

8.  Whatis  this  method  of  musical  notation  caUedf 

9.  What  other  tones  have  yon  learned  beside  doh, 

me,  loht 

10.  What  is  the  mental  effect  of  one-doh  t 

11.  What  is  its  hand-sign  ? 

12.  How  is  it  indicated  in  the  notation  ? 


13.  What  is  the  mental  effect  of  toh-one  t 

14.  What  is  its  hand-sign! 

15.  How  is  it  indicated  in  the  notation! 

16.  How  is  time  in  music  measured? 

17.  How  many  kinds  of  accents  have  yon  learned! 

18.  What  is  the  time  from  one  strong  accent  to  the 

next  strong  accent  called ! 

19.  What  is  the  time  from  any  accent  to  the  next 

called? 

20.  Is  there  but  one  order  ot  arrangement  of  ac- 

cents or  may  there  be  different  arrange- 
ments ? 

21.  What  do  different  arrangements  of  accents 

produce  ? 

22.  How  many  kinds  of  measure  have  you  learned 

and  what  are  they  ? 

23.  What  is  the  order  of  accents  in  two-pulse 

measure  ?   Three-pulse  measure  ? 

24.  When  is  a  measure  in  its  primary  form!  Sec- 

ondary? 


25.  How  is  the  strong  accent  indicated  in  the  no 

tation?   The  weak  accent? 

26.  What  represents  the  time  of  a  pulse?   Of  a 

measure  ? 

27.  What  is  the  time-name  of  a  one-pulse  tone? 

28.  How  is  the  strong  accent  indicated  in  the  time- 

names  ? 

29.  When  a  tone  is  continued  from  one  pulse  into 

the  next,  how  is  the  continuation  marked? 

30.  How  are  the  time-names  for  continuations  ob- 

tained? 

31.  When  two  tones  are  sung  in  the  time  of  one 

pulse,  what  are  they  called ! 

32.  What  is  tlie  time-name  of  the  first  half  of  a 

pulse?   The  second? 

33.  How  are  half-pulse  tones  indicated  in  the  no- 

tation ? 

34.  How  is  the  end  of  an  exercise  indicated! 


35.  Sing  tn  In  ihp  Snh  to  any  Doh  the  teacher glvM. 

36.  Sing  in  the  same  manner  the  Soh-one. 

37.  Sing  in  the  same  manner  the  One-Doh. 

38.  Sing  in  the  same  manner  the  Me. 

39.  Sing  in  the  same  manner  Soh  to  any  One-Doh 

the  teacher  gives. 

40.  Sing  in  the  same  manner  the  Me. 

41.  Sing  in  the  same  manner  the  Doh. 

42.  Taatai  the  upper  part  in  one  of  the  Sxs.  59, 

60,  or  61. 


PRACTICE. 

43.  Taatai  in  tune  one  of  the  Exs.  59,  60,  or  61,  but 

not  the  same  as  in  the  last  req^uirement, 
chosen  by  the  teacher. 

44.  Point  on  the  modulator  from  memory  any  one 

of  the  Exs.  50,  51, 52,  54,  56, 58,  chosen  by  the 
teacher. 

45.  Write  from  memory  another  of  these  exercises. 

46.  From  any  phrase  (belonging  to  this  step),  sung 

to  figures,  teU  your  teacher,  or  write  down, 
which  figure  was  sung  to  Me. 


47.  Ditto  Soh. 

48.  Ditto  Doh. 

49.  Ditto  Soh,. 

50.  Having  heard  the  chord,  tell  or  write  down 

which  tone  wag  sung  to  la. 

51.  Follow  the  teacher's  pointing  on  the  modulator 

in  a  new  voluntary,  containing  Doh,  Me,  S»h. 
Doh^,  and  Soh,,  3?aa,  Taa-aa  and  Taatai. 

52.  Write  from  dictation  and  afterwards  sing  a 

similar  exercise. 


KEY  D.   Round  ill  four  parts. 


Ess  ET  Yew. 


{I 

H 
{I 


d  .d 

Now  the 
* 

n     .  m 

Don't  be 
S 

Cour 


d'  .di 

WeU  be 


:  d  .d 

Sec   -  ond 

;  PI     .  m 

frightened, 


:  d' 

gun, 


PI 

Step 


.  PI 

:  PI 

.  PI 

Is  . 

S 

:  s 

.  S 

is 

com 

-  ing- 

1  read  - 

y 

ev  - 

ery 

.  S 

:  s 

.  S 

Id'  . 

d' 

:  di 

.  di 

your 

cour 

-  age. 

1  Soon 

it 

will 

be 

In 

I  Cour 

.  di 

:  d' 

Id  . 

d 

:  d 

.d 

ery 

one, 

1  Soon 

it 

will 

be 

s 

one, 

d' 

done: 


d 

done. 


SECOND  STEP. 


In  addition  to  the  tones  i,  n,  b,  d'  and  s,  to  recognize  and  produce  Ray  and  Te.  To  distinguish  and  produce  the  medium  accent  and  the 
four-pulse  and  six-pulse  meeisures.  The  whole-pvlse  sUence,  half -pulse  tones  in  three-pidse  measure,  pulse-and-a-half-tones  and  quarter-pulse 
tones  in  their  simplest  forms. 


To  introduce  Ray  and  Te  the  teacher  may  proceed  somewhat 
as  follows.  After  re^"iewing  the  tones  already  taught,  and  a  short 
drill  from  the  Modulator  or  hand-signs,  he  may  say: — 

Name  the  tones  I  sing  and  if  I  sing  a  different  tone 
from  those  you  have  learned,  one  that  is  not  d,  m,  or  s,  you 
may  say  new  tone. 

The  teacher  sings  the  tones  to  la,  pupUs  calling  out  "Doh," 
"Soh"  and  so  on,  and  after  keeping  them  a  moment  or  two  in 
expectation  he  sings  Ray,  the  second  tone  of  the  scale,  (of  course 
to  la)  which  the  pupils  at  once  detect  as  a  new  tone. 

Is  the  new  tone  higher  or  lower  than  Doh  ? 

Is  it  higher  or  lower  than  Jfe? 

If  the  answers  are  not  prompt  and  correct  the  exercise  must 
be  repeated. 

The  name  of  the  new  tone  is  Bay. 

He  writes  it  on  the  board  or  shows  it  on  the  Modulator. 

As  we  have  an  upper  Doh  so  also  we  call  have  an  up- 
per Bay,  and  there  is  also  an  upper  Me  and  an  upper  Soh. 
They  are  called  one-Bay,  one-Me  and  one-Soh. 

He  writes  them  on  the  board  or  shows  them 
on  the  modulator. 

Name  the  tones  again  and  if  I  sing  a  tone 
you  have  not  heard  before,  say  New-tone. 

He  sings  the  tones  to  la  as  before,  pupils  call- 
ing out  the  names,  and  after  a  moment  or  two  he 
sings  Te,  the  seventh  tone  of  the  scale.  He  ques- 
tions the  class  as  to  the  position  of  the  new  tone, 
writes  its  name  on  the  board  or  showti  it  'on  the 
modulator,  and  also  its  lower  octave.  See  diagram. 
He  then  patterns  and  points  on  the  modulator 
such  exercises  as  these — 


Ex.  63.     KEY  C. 

{ I  d  :  m  I  s  :— I  s  :  t  I  r'  :— I  r' :  1 1  s  :  d'  I  s  :  n  I  d  :— I 

Ex.  64.    KEY  F. 
{|  d  :  m  I  s  :  n  I  s,  :  ti  I  r  :  t|  I  Si  :  s  i  PI  :  8  I  d  :  — II 

Ex.  65.    Kr.Y  A. 

{|  d  :  m  I  d  :sr  lt|  :r  1 1, :  s,  |  d  :  s,|  m  :  s,  |  d  :  — | 

Ex.  66.   KEY  F. 
{|  3  :  m  I  d  :  m  I  s  :  r  1 1, :  r  I  s  :  n  |  s  :  s,  |  d  :  — | 

Ex.  67.    J:j:  D. 

{Im:d|in:s|r  :tilr:s|n:B|r:Bld:— 1 


n' 


DOH' 

TE 


SOH 

ME 
RAY 

DOH 

t, 

8| 


The  teacher  next  brings  up  in  review  the  mental  effects  of 
doh,  me  and  soh,  and  then  proceeds  to  develope  the  mental  ef- 
fects of  ray  and  te,  somewhat  as  foUows. 

Now  give  your  attention  to  the  mental  effect  of  ray  in 
the  examples  I  shall  sing,  and  notice  first  whether  ray 
gives  a  feeUng  of  rest,  of  satisfaction,  or  whether  it  is  the 
reverse  of  that,  is  restless,  expectant,  unsatisfied. 

Teacher  sings  in  any  key  suited  to  his  voice,  the  foUowiog 
exercises,  making  a  slight  pause  before  the  last  tone. 


d'  :s 


:r' 


rl    .  _ 


All  sing  it. — 

ymi  satisfied  to  stop  on  that  tone  or  4o  you  ex- 
pect suuaething  else  ? 
Listen  again. 

Teacher  sings.  :  , 


d'  :  s   I  m  :  s  I  d> 


m'  :  — 


All  sing  the  same. — 

Is  that  as  satisfactory  as  the  former  or  more  so? 
Listen  again. 
Teacher  sings. 

I  ,d'  :  8   1  PI  :  8  I  rn'  :  r'  fr'  :  —  II 

AU  sing  it. — 
Satisfactory  or  expectant? 
Listen  again. 
Teacher  sings. 

I  d'  :  s   I  n  :  s  I  PI'  :  r'  fd'  :  —  II 
AU  sing  it. — 
Satisfactory  or  expectant? 

You  learn  from  these  examples  that  ray  is  a  restless, 
moving,  expectant  tone,  that  it  leans  upon  doh  or  me. 
But  listen  again  and  notice  whether  it  has  a  depressing, 
despondmg,  hopeless  effect,  or  whether  it  is  hopeful,  rous- 
ing, animating. 

Teacher  sings  the  following,  which  the  pupils  may  repeat. 

:  8  .  d'  I  r'      :  d' .  t  I  d'      :  s  .  d'  l^r'      :  n' .  r'  |  d'  || 

What  is  its  effect,  depressing  and  hopeless,  or  hopt^ 
rousing,  animating? 


16 


SECOND  STEP. 


It  will  be  well  to  sing  the  axerciBe  ^ain,  substituting  doh 
for  ray,  thtie, 

:8.  d'  Id'      :d'.  t  |d'      :b.  d'  |d'      :fn'.d'|d'  H 

and  again  with  ray  as  at  first;  this  will  produce  a  contrast  that 
will  make  ray  stand  out  very  clearly.  The  following  examples 
will  illustrate  the  mental  effect  of  te.  The  teacher  may  use  them 
in  his  own  way,  to  show  that  <e  is  a  restless  tone,  with  an  intense 
longing  for  doh,  an  urgent,  sharp,  sensitive  piercing  eflfect. 

Id  :m  Is   : d'  1 1  :  —  | d'  :  —  H 

:  d'  I  3  :  m  I  r  :  t  1 1   :  —  |  d'  || 

In  the  following  exercise  n  and  s  are  substituted  for  t  to 
produce  a  contrast. 

:d'|s  :rn  jr  :m  \m  :— jd'  H 

Sing  it  again  with  t  and  then  as  follows — 

:  d'  I  s   :  PI  I  r  :  s   |  s   :  —  j  d'  jj 

and  finally  with  t  as  above. 


The  manual  sign  for  the  rousing,  hopeful  tone  is  this. — 
AU  make  it — . 

The  sign  for  the  sensitive,  piercing  tone  is  this  — , 
pointing  up  to  doh,  the  tone  to  which  it  so  strongly  leans. 
All  make  it — . 

The  teacher  now  proceeds  to  driU  the  class  thoroughly  in 
the  new  tones  by  means  of  the  modulator,  hand-signs,  ear  ex- 
ercises, etc.,  during  which  practice  he  wiU  have  the  tones  d  n 
8  sung  together  as  a  chord. 

This  may  be  done  by  dividing  the  class  into  three  sections, 
one  section  to  sing  doh,  another  me,  and  another  soh.  First  let 
doh  and  soh  be  sung  together,  then  doh  and  me ;  then  me  and 
soh,  and  then  doh,  me  and  soh  all  at  once.  The  teacher  will  ex- 
plain that  when  tones  are  combined  in  this  way,  the  combination 
is  called  a  chord.  This  particular  chord,  formed  of  the  tones  of 
d  n  s  is  called  the  chord  of  DOH,  or  Tonic  Chord.  The 
chord  of  DOH  may  be  taught  in  the  first  step,  if  the  teacher 
prefers.  The  tones  s  t  r"  should  next  be  combined  in  the 
same  way.  They  form  the  chord  of  SOH,  or  Dominant  Chord. 
The  class  is  now  prepared  to  take  up  the  study  of  the  following 
exercises. 


Ex.  68.   KEY  F.    Eound  for  two  parts. 


il 
{I 

{I 
11 

{I 
II 

!1 
{| 


d 

On 


:d 

ward 


:d 

the 


:  s 

lent 


* 

m     :  m 

I  Men  and 


d     :  PI 

mai  -  dens 


m     :  m 

wan  -  der 


n 

I  riv 

S 
ev 


Ex.  69.   KEY  F.   Bound  for  three  parts. 


d 

Af  - 

t, 

lieve 


:d 

ter 

:t, 

the 


BtU  - 

d 

mind. 


:  m 


r 

we 


And 


:d 

er, 

;  m 

er, 


shall 

:  s 

our 


t| 

Day 

r 

Old 


and 

;  r 

and 


Ex.  70.   KEY  G.   Eound  for  four  parte. 

t 

S|     :si     Id     :d     |S|     :  S|     Id  :d 

Scot  -  land's  I  bum  -  ing,    |  Scot  -  land's  I  bum  -  ing, 
t  t 

8     :  —    Is  : 

Fire!  iFire! 


find, 
t, 

hearts 


t.* 

r 

Look 


:d 

to 


t 


8 

Fire 


t 


Fire! 


Pour  on 


Ex.  71.   KEY  G.   Round  for  four  parts. 


d     :  m 

pight  we 

n     :  d 

young  all 
t* 

m 

Mu  - 


S| 

geth 


r      :  r 

wend  our 

t,  :t, 

pass      a  - 


d      :  — 

way; 

Id      :  — 

I  way. 


m 

sic 


r 

will 

d 

bind. 


d 

re 


m 

out, 

d 

wa 


d 

ter, 


r 

Look 
t, 

pour 


:  r 

on 


PI 

out, 

d 

wa 


d 

ter. 


8| 

L«t 

:si 

us 

:s, 

en  - 

1^ 

-  1  deaT 

:d 

-  or 

:d 

To 

* 

|r 

1  show, 

:r 

that 

:r 

when  ■ 

1  er  - 

:  R 

-  er 

:  m 

We 

S 

join 

:  8 

in 

:  8 

s 

Is 

1  song, 

:  rn 

We 

:d 

can 

It, 

1  keep 

:t, 

time 

:t, 

to    -  - 

Igeth 

:d 

-  er. 

:d 

Yes. 

SECOND  STEP. 


17 


Ex.  72,    KEv  D.    Bound  for  three  parts. 


II 


d  :t, 

"Here  I 


d 

down 


be 


d 

go. 


d 

-  I  low. 


t 


r 

sure 


:  r 

and 


s  . s  :s 

"Not  so  I, 


PI 

slow," 
S  .d< 

swiftly 


:  n 
fly," 


* 

In 


;  r 

the 


S    .s    :s  .S 

Sings  the  bird  on 


r 

tur 


A.  li.  a 
:d 

-   -  tie 


di 

high. 


Ex.  73.   KEY  C,   Round  in  four  parts. 


{I 
II 


s     .8  :m 

Hnr  -  ry  now, 

d'  :  — 

No, 


S 

I  hnr 
t 

no, 


.8 


:r 

now, 


m    .  n 

Come  a 

d> 

Wait 


:d 

long, 


r 

Wont 

I  S 

while. 


yon 


:8 

hnr 


T.  F.  S. 

.8 

ry? 


Tuning  Exercises  are  designed  for  the  purpose  of  teach- 
ing voices  singing  different  parts  to  study  me  another,  and  to  chord 
weU  together.  To  some  extent  this  is  done  in  every  exercise, 
but  it  requires  also  separate  study.  The  teacher,  iu  these  exer- 
cises endeavors  to  secure  from  the  class  a  uniformly  clear,  soft 
tone — making  a  signal  to  any  one  whose  voice  is  so  prominent 
as  to  stand  out  from  the  rest, — and  to  maiutaiu  the  perfect  tun- 
ing into  each  other  of  all  the  parts  of  the  chord.  For  some  time 
the  accord  of  the  voices  will  be  very  rough  and  imperfect,  but 
soft  singing  and  listening  will  amend  the  fault.  The  exercises 
may  be  sung  from  the  book,  but  a  better  plan  is  to  sing  them 
from  the  blackboard,  as  iu  this  way  a  correct  position  of  the 
pupU  is  secured,  and  the  teacher  can  readily  call  the  attention 
of  all,  in  a  moment,  to  any  point  in  the  exercise.    They  may  be 


sung  as  foUows — By  three  sections  of  women's  voices,  one  sec- 
tion singing  the  first  part,  another  the  second  and  another  the 
thjSrd.  When  moderately  well  done,  the  parts  should  be  ex- 
changed, those  who  sang  the  first  part  taking  the  second,  the 
second  taking  the  third  and  the  third  the  first.  At  the  next 
change  the  same  process  is  repeated.  The  exercises  may  then 
be  sung  in  the  same  manner  by  three  sections  of  men's 
voices.  Boys  whose  voices  have  not  changed  will  sing  with  th 
women.  Again,  let  alT  the  men  sing  the  third  part,  and  tw* 
sections  of  women  take  the  first  and  second;  again,  all  the  women 
sing  the  first  part,  and  the  men  in  two  sections  taking  the  sec- 
ond and  third.  Again,  all  the  women  sing  the  second  part,  and 
the  men  in  two  sections  the  first  and  third. 

To  be  sung  first  to  the  sol-fa  syllables,  then  to  la  and  to  loo. 


Ex.  74.   KEYS  F  and  G. 


TUNING  EXERCISES. 


Ist. 

s 

PI 

s 

PI    :  s 

8 

2d. 

n 

m 

:  PI 

d 

PI 

d     :  PI 

PI 

3d. 

d     :  — 

d 

:d 

d 

d    :  S| 

d 

For  the  following  exercises  in  four  parts  the  class  should  be 
divided  into  four  sections,  two  sections  of  ladies  taking  the  two 
upper  parts  and  two  sections  of  gentlemen  taking  the  two  lower 


parts.  This  division  of  the  voices  must  not  be  considered  aa  a 
final  classification  unto  Soprano,  Contralto,  Tenor  and  Base. 
That  will  come  later  in  the  course. 


Ex.  75.     KEY  C. 

Sing  first  aa  written.  Second  time.  Soprano  and  Tenor  change 
parts.  Third  time,  Soprano  and  Contralto  change  parte,  Contralto  sing- 
ing d  t,  d  instead  of  d'  t  d' . 


Ex.  76.    KEY  F. 

First  as  written.  Second  time,  Soprano  take  Tenor,  Tenor  take  Con- 
tralto, singing  s  instead  of  s,,  Contralto  take  Soprano.  Third  time.  So- 
prano and  Contralto  change  parts,  Soprano  singing  s  instead  of  s, . 


d 

s 

:  PI 

d  :  — 

d':  — 

di:t 

d':  — 

d 

S| 

:  PI 

d  :  — 

d  :  — 

d  :t| 

d  :  — 

d 

s 

:  PI 

d  :  — 

m  :  — 

m  :  r 

n  :  — 

d 

S| 

:  m 

d  :  — 

s,  :— 

S|  :S| 

s,  :  — 

d 

s 

:  PI 

d  :  — 

s  :  — 

s  :  s 

s  :  — 

d 

S| 

:  PI 

d  :  — 

m  :  — 

PI :  r 

m  :  — 

d 

s 

:  n 

d  :- 

s  :  s 

d  :  — 

d 

Si 

:  m 

d  :  — 

Si  :S| 

d  :  — 

18 


SECOND  STEP. 


Ex.  77.    KEY  C. 

First  as  written.  Seoond  time.  Soprano  and  Tenor  change  parts. 
Third  time.  Soprano  take  Contralto — Contralto  take  Tenor,  singing  t,  in- 
stead of  t — Tenor  take  Soprano. 


Ex.  78.   EBT  F. 

First  as  -written.  Second  time.  Soprano  take  Tenor — Tenor  tak< 
Contralto,  singing  s  instead  of  s, ,  Contralto  take  Soprano.  Third  tiaie. 
Soprano  and  (>}ncralto  change  parts.  Soprano  singing  ■  instead  of  i, 


d  :  — 

m 

:d 

s  :  — 

s  :  — 

3  :  s 

s  :  — 

d  :  — 

m 

:  d 

s,  :  — 

t,  :- 

d  :t, 

d  :— 

d  :  — 

m 

:d 

8  :  — 

r  :  — 

n  :  r 

m  :  — 

d  :  — 

n 

:  d 

S|  :  — 

3,  :  — 

3,  :b, 

3,  :  — 

d  :  — 

m 

:  d 

s  :  — 

t  :  — 

d':t 

d':  — 

d 

m 

:  d 

S|  :  — 

r  : — 

PI  :r 

PI  :— 

d  :- 

tn 

:  d 

s  :  S| 

d  :  — 

d  :- 

m 

:  d 

3,  :3, 

d  :— ^ 

Ex  79.   KEY  G. 


S| 

S| 

:d 

m 

m  :  — 

m 

:  PI 

3 

:  m 

r 

S|  :  — 

S| 

:t, 

r 

r 

PI 

:d 

d 

:t, 

d  :  — 

S| 

S| 

:d 

m 

d  :  — 

d 

:d 

d 

:d 

t, 

s,  t  — 

Si 

:t, 

r 

t, 

d 

:  3| 

Sl 

:S| 

3,  :  — 

Si 

S| 

:d 

n 

s   :  — 

s 

:  s 

s 

:  3 

s 

Si  :  — 

S| 

:t, 

r 

s 

3 

:  PI 

PI 

:r 

PI  :  — 

S| 

S| 

:d 

m 

d  :  — 

d 

:d 

PI 

:d 

S| 

S|  :  — 

S| 

:t, 

r 

S| 

d 

:d 

Sl 

:s, 

d  :  — 

Breathing  Places. — It  was  taught  in  the  first  step  that 

jhe  best  places  to  take  breath,  musically  considered,  are  at  the  be- 
beginning  of  the  musical  phrases.  But  the  sense  of  the  words  is 
of  more  importance  than  musical  phrasing.  It  frequently  hap- 
pens that  the  phrasing  of  the  words  and  phrasing  of  the  music 
do  not  agree.  In  such  cases  breath  must  be  taken  where  it  will 
not  destroy  the  sense  of  the  words.  In  the  following  example 
the  musical  phrasing  would  allow  a  breath  to  be  taken  at  the  dag- 
ger (t)  and  this  would  suit  the  first  verse;  but  it  would  not  do 
for  the  second  verse;  and  the  breathing  places  neither  of  the  first 
nor  second  verses  would  answer  for  the  third. 


KEY  G. 
d         :8,  . 

1.  Light  of 

2.  Son  of 

3.  Je    -  SU8 


t 


d 

world, 

Fath 

from 


the 


Sav  -  iour 
Lord  most 
proud      con  - 


d 

dear! 
high, 
cealed. 


To  take  breath  before  a  strong  pulse  the  time  of  the  breath 
must  be  taken  from  the  end  of  the  previous  weak  pulse;  to  take 
breath  before  a  weak  pulse  the  time  of  it  may  be  taken  from  the 
beginning  of  the  same  pulse.  It  is  not  only  convenient  but  ne- 
cessary to  take  breath  before  all  long  sustained  tones  or  long  con- 
nected phrases. 


It  is  recommended  that  before  singing  the  words  of  a  tuns 
they  should  be  studied  separately.  The  teacher  may  read  the 
portion  of  words  from  one  breathing  place  to  another,  which  the 
pupils  are  to  repeat  after  him  and  mark  the  breathing  place  with 
pencil.  In  this  exercise  particular  attention  should  be  given  to 
pronunciation;  the  vowels  should  be  clear  and  pure  and  the  con- 
sonants sharp  and  distinct. 


Expression  is  such  a  use  of  loudness  and  softness  in  sing- 
ing as  tends  to  make  the  music  more  expressive.  Even  in  the  earli- 
est steps,  pupils  enjoy  thus  embellishing  their  music.  In  the 
fifth  step  the  subject  is  treated  more  fuUy.  Here  it  is  enough  to 
draw  attention  occasionally  to  what  is  indeed  the  chief  part  of  ex- 
pression— that  which  is  suggested  by  the  words.  First  there 
must  be  fixed  the  medium  or  normal  degree  of  force  proper  to 
the  ijeneral  seiUivient  of  the  piece, — then  whatever  words  are  print- 
ed in  the  common  type  are  to  be  sung  with  that  appropriate  medi- 
um force,  whatever  words  are  printed  in  sMAiiL  oapitaTiS  are  to  be 
sung  louder,  and  whatever  words  are  printed  in  italics  are  to  be 
sung  more  soJUy.  Many  of  the  pieces  in  this  book  are  left  to  be 
marked  by  the  pupils  under  the  direction  of  the  teacher.  A  sin- 
gle line  drawn  under  the  words  by  pen  or  pencil  will  indicate 
italics,  and  a  double  line  small  capitals. 


!1 
II 


Ex.  80.     KEY  F 

d 

Let 


d 

Left, 


Round  for  two  parts. 


r 

1" 

:  r 

Id  :pi 

Is 

|m 

:  r 

1" 

:  s 

us 

1  sing 

a 

1  mer  -  ry 

1  song. 

1  While 

we 

1  gai 

-  ly 

t, 

1^ 

:t, 

|d.d:d 

j  t| .  t| :  t| 

:t, 

1^ 

:t, 

right. 

1  left, 

right. 

1  steadi  -  ly, 

1  steadi  -  ly. 

I  Left, 

right, 

1  left. 

rig 

m    :  r 

march  a 


d    :  S| 

March  a 


d 

long. 


d 

long. 


SECOND  STEP. 


19 


Ex.  81.   xsY  6. 


SWELL  THE  ANTHEM, 


a     :  a 

a 

:  S| 

a 

:  PI 

s 

s 

:  s 

s 

:  Pt 

r 

:  d 

4. 
t| 

s,  :si 

S| 

:  Pi| 

S| 

:d 

ti 

:  — 

t, 

:t, 

d 

:d 

t, 

:d 

S| 

;  — 

1.  Swell  the 

an  - 

them, 

raise 

the 

song; 

Prais 

-  es 

to 

onr 

God 

be  - 

long; 

of 

sings, 

Frais 

to 

the 

Twiner 

of 

kings 

PI     :  p\ 

PI 

.  U 

s 

!  PI 

r 

• 

r 

;  r 

PI 

:  S 

S 

;  PI 

r 

• 

d  :d 

d 

:d 

PI 

:d 

Si 

8| 

:si 

d 

:  d 

S| 

:S| 

S| 

:  — 

d  :d 

d 

:S| 

d 

• 

:  PI 

s 

S 

:  s 

s 

:  PI 

r 

:  r 

d 

S|  :si 

S| 

:  pi| 

S| 

:d 

tl 

t| 

:t, 

d 

:d 

d 

:t, 

d 

Saints  and 

an  - 

gels 

join 

to 

smg 

Prais 

-  es 

to 

the 

heav'n 

-ly 

King. 

Let  us 

join 

the 

chor 

-  al 

song. 

And 

the 

grate 

-  ful 

notes 

pro  - 

long. 

m     :  PI 

PI 

:d 

S 

:  PI 

r 

r 

:  r 

PI 

:  s 

S 

:  s 

PI 

d  :d 

d 

:d 

PI 

:d 

S| 

S| 

:si 

d 

:d 

S| 

:s, 

d 

The  Slur  is  a  horizontal  line  drawn  nnder  two  or  more  notes  and  shows  that  one  syllable  of  the  words  is  to  be  sung  to  &s 

•many  notes  as  are  thus  connected. 


CHEERFUL  LABOR. 

Ex.  82.    KEY  D. 


d    :  PI 

:  s 

d'  : 

:  s 

s 

:t 

:r' 

di 

d' 

:  s 

:d' 

di  : 

s 

:  PI 

d  :d 

:  PI 

PI  : 

:  s 

s 

:  r 

:  r 

PI 

PI 

:  PI 

:  PI 

PI  : 

PI 

:d 

1.  Let  us, 

dear 

broth 

-  ers, 

Oheer-ful 

-  ly 

toil; 

Nev 

-  er 

from 

la  - 

bor. 

No, 

2.  Rich  is 

the 

treas 

•  ure 

Now 

to 

be 

won; 

Toil 

in 

fuU 

meas  - 

ure. 

Till 

n    :  s 

:di 

s  : 

:di 

t 

:ri 

:t 

di 

S 

:di 

:  S 

s  : 

d' 

:  s 

d  :d 

:d 

d  : 

:  PI 

S 

:  s 

:  s 

d 

d 

:d 

:d 

d  : 

d 

:d 

s     :  r 

:  n 

d  : 

PI 

:  s 

d' 

:  s 

:d' 

d' 

:  s 

:  PI 

s 

:  r 

:  PI 

d  : 

t,  :t, 

:t, 

d  : 

PI 

:  PI 

:  PI 

PI 

:  PI 

:d 

t, 

:t, 

:t, 

d  : 

nev  -  er 

re  - 

coil 

Nev 

-  er 

from 

la  - 

bor, 

No, 

nev 

-  er 

re  - 

coil. 

time  shall 

be 

Toil 

in 

full 

meas 

-  ure, 

TiU 

time 

shall 

be 

done. 

s     :  s 

:  s 

m  : 

S 

:d' 

:  S 

S 

:d' 

:  s 

S 

:  s 

:  s 

n  : 

S|    :  S| 

:S| 

d  : 

d 

:d 

:d 

d 

:d 

:d 

S| 

:s, 

:S| 

d  : 

Ex.  83.    KET  C.   Round  for  two  parts. 

ildi.dird'     It     :t  Id'.d' 


i  Icheerful-ly      Iwork,     or  |mer-ri-ly 


PI 

play, 


:  n 

But 


al 


:  PI 

ways 


r 

strive 


:  r 

that 


PJ 

you 


:  r 

may 


A.  L.  C. 

d  :- 

say. 


II? 


r 

ihave 


PI 

done 


d 

some 


S 

Igood 


:-  It, 

to 


d 

day. 


20 


Ex.  84.   EET  E^. 

n  .  n 
d  .d 

1.  Pur-er 

2.  Calmer 

3.  Quicker 
S     .  S 

d  .d 


d 

dear 

snr 

firm 

n 
d 


SECOND  STEP. 


LONGINGS. 


:d 

.  PI 

s 

:  m 

r  . 

r 

:d 

.  r 

PI 

PI  . 

n 

:d 

.  m    \  ! 

:d 

.d 

d 

:d 

t,  . 

ti 

:d 

.t, 

d 

;  — 

d  . 

d 

:d 

.d  1 

yet 

and 

pur  - 

-  er 

I 

would  be 

in 

mind, 

Dear- 

er 

yet 

and  [ 

yet 

and 

calm  - 

-  er 

Tri  - 

al 

bear, 

and 

pain. 

Sur  - 

er 

yet 

and  > 

yet 

(juick 

6r 

Hi  V  - 

er 

on  - 

ward 

press. 

Firm- 

er 

yet 

and  I 

J  PI 

J 
.  a 

PI 

:  s 

S 

S 

:  PI 

.  S 

S 

!  — 

S  . 

S 

:  PI 

.d  ) 

:d 

.d 

d 

:d 

S|  . 

Si 

:s, 

.  S| 

d 

;  — 

d  . 

d 

:d 

.d  / 

*  m 

•  in 

r    •  r 

•  n 

.  r 

A 

U. 

•  , 

r    .  r 

:  t| 

.  r 

s 

:  r 

:d 

ti  .t, 

:t, 

.t, 

d 

t,  .ti 

:si 

•  t, 

t, 

:t, 

er 

Ev  -  'ry 

du 

-  ty 

find; 

Hop  -  ing 

stUl 

and 

trust 

-  ing 

er 

Peace  at 

last 

to 

gain; 

Snff  -  'ring 

stm 

and 

do  - 

-  ing. 

er 

Step  as 

I 

pro- 

gress; 

Oft  these 

earn 

-  est 

long 

ings, 

:  s 

S     .  S 

:  s 

.  S 

PI 

S     .  S 

:  r 

.  r 

r 

:  S 

:d 

S|    .  s, 

:si 

.  S, 

d 

S,     .  S| 

:si 

.  S| 

Sl 

:si 

n  .  PI  :  d  . 

PI 

s         :  — 

r  .r  :t|  . 

r 

s 

:  r 

PI  .PI  :  r  .  r 

d 

d  .d  :d  . 

d 

ti  :- 

t|  .  t|  :  S|  . 

ti 

tl 

:t, 

d  .d  :t|  .t| 

d 

God  with -out 

a 

fear, 

Pa  -  tient-ly 

be- 

liev  - 

-  ing 

He    will  make  all 

clear. 

To    his  wiU 

re  - 

signed, 

And  to  God 

sub- 

du  - 

-  ing 

Heart,  and  will,  and 

mind. 

Swell  within 

my 

breast, 

Yet  their  in  - 

ner 

mean 

-  ing 

Ne'er  can  be     ex  - 

pressed. 

s  .  s   :  PI  . 

d 

r        :  — 

s  .  s  :  r  . 

r 

r  , 

:  s 

s   .  s  :  s  .  s 

PI 

d  .d  :d  . 

d 

s,        :  — 

S|  .  S|  :  S|  . 

S| 

:s, 

d  .  d  :  S|  .  S| 

d 

The  Medium  Accent  should  now  be  explained.  One 
or  more  of  the  following  tunes  may  be  sung  by  the  teacher,  (to 
la)  first  in  two-pulse  measure  with  every  other  accent  strong  and 
heavy,  and  then  in  four-pulse  measure  by  changing  every  alter- 
nate strong  accent  into  a.medium.  It  may  be  well  to  let  the  pu- 
pils imitate  the  teacher's  examples. 


Id   :  d 


d  Ir 


:  d   I  n 


|d:d|r  :r|ni:n|r:r  |n:8  |f  :B|r  :r  |d:  —  || 
|pi  :b  |f  :8  |n  :b  |r  :b   |  m  :s   |f   :r   |d  :t,  \i  :— j| 


Also  the  following,  first  in  three-pulse  measure  as  written, 
and  then  in  sis-pulse  measure  by  changing  every  alternate  strong 
accent  into  a  medium. 


':  1 


I  n  : —  :  n  I  m  :  - 
|n  :-:-|r  : 
1 8,  :  d  :  r  |  m  :  - 


;d  |r 
:-|d 


;r  |r  :- : 

;-  II  or 


I  n  :—  :  n  [8 
1 8.  :  8,  :  8. 1 8. 


"1 1  "I 


;-:f  t 
iS,  :8.  t 


:r{r  :r  :d|pi:n:r|d 


Also  the  following  time-exercises  may  be  written  on  the 
blackboard  and  sung  first  as  written,  and  then  with  every  othei 
strong  accent  made  medium. 


TWO-PTTLSE  MEAStTRE. 


FOTXR-PTTLSE  MEASIHtE. 


1 


i  THREE  PXJXSB  MEAStTRB.  S 
11 

SrX-PTJLSE-MEASXTRH.  g 


:1 


:1  :1 


1  :1 


1  :1 


1      :1      :1      II     :1  :1 


:1 


1     :1  :1 


■r 


SECOND  STEP. 


21 


When  the  pupils  have  distinguished  the  medium  accent  and 
can  produce  it,  the  teacher  will  explaiH  that  the  medium  accent 
changes  two  two-pulse-measures  into  a  four-pulse  measure,  and 
two  three-pulse  measures  into  a  six-pulse  measure.  In  four-pulse 
measure  the  accents  are  arranged  Ln  the  order  strong,  weak, 
SDSDiuM,  weak,  (as  in  the  words  "  mo-wien-TA-ry,"  "plan-e-TA-ry.") 
In  six-pulse  measure  the  accents  are  arranged  in  the  order  strong, 
weak,  weak,  medium,  weak,  weak  (as  in  the  words  "spir-ii-w-AXi-^ 
ty,"  im-mw-ta-BiL-i-<2/.")  The  medium  accent  is  indicated  in  the 
notation  by  a  short,  thin  bar.  In  the  time-names,  the  medium 
accent  is  indicated,  when  necessary  (as  in  dictation  exercises)  by 
the  letter  L,  thus,  Tiaa,  Tiaatai,  etc.    In  Taataing,  the  L  is  not 


usefuL  The  teacher  must  not  expect  too  great  a  nicety  of  dis- 
tinction at  first.  The  finer  points  both  of  time  and  tune  require 
much  practice. 

The  following  time-exercises  may  now  be  practiced  from  thel 
teacher's  pattern,  first  with  the  time-names  and  then  to  la. 

It  will  be  well  in  exercises  85  and  87  to  sing  each  measure 
four  times,  as  a  separate  exercise,  before  singing  the  four  meas- 
ures continuously.  In  exercises  86  and  88  the  portions  marked 
off  by  the  dagger  (t)  should  be  treated  in  the  same  way.  Addi- 
tional time-exercises  are  obtained  by  Taataing  the  rounds  and 
tunes  on  one  tone. 


Ex.  85. 
11  :1 

TfiAA  TAA 


u 

TLAA 


:1 

TAA 


1 

TBAA 


II 
TAA 


:1 

TAA 


11 

I  TBAA 


:1 

TAA 


1 

TBAA 


Ex.  86. 

:1        11  11      :1    11  :- 

TAA  I  TBAA    -    AA         TAA         TAA      I  TBAA    -  AA 


t 

:1 

TAA 


1      :1      II      :1      1      :-  I- 

TBAA      TAA         TAA  TAA        TBAA    •        AA-  AA 


Ex.  87,    I^rst  slowly,  beating  six  times  to  the  measure,  then  qniokly,  beating  twloe. 

11    :1   :1  |1   :1   :1  11    :-:-|l   :-:-|l   :1    :1   |1   :-:l  11 

I  TBAA  TAA    TAA  TLAA     TAA     TAA    TBAA  -  AA  -    AA    TLAA  -  AA  -    AA  I  TBAA  TAA    TAA     TAA  -  AA     TAA  TBAA  -  AA-AA-AA-AA-AA 


1    :  — :1   11   :  — :1  11   :1   :1    |1   :  — :  — 11    :  — :1   |1  :1  : 1  |1  ]-:-:— ' 

TBAA  -  AA     TAA    TAA  -  AA     TAA  I  TBAA  TAA    TAA     TAA  -  AA  -  AA     I  TBAA  -  AA      TAA   TAA     TAA    TAA  I  TBAA  -  AA-AA-AA  -  AA-AA 


Ex.  88.  t  t 

:l       11   :-:l  |1  :1  :1  11   :-:-|l  :-:l  |1  :1   :1  |1  :-:l  |1  :_:_|_:_ 

TAA         I  TBAA-  AA    TAA   TAA   TAA  TAA   ItBAA-  AA-AA     TAA  -  AA     TAA  I  TBAA  TAA  TAA    TAA  -  AA     TAA  |  TBAA  -AA  ■  AA  <  AA  -  AA 

:1       11        :— 11  :-:-|l  :1   :1  |1  11  :1  :1  |1  :1  :1  11  :_;_|_:- 


TAA         ITBAA-AA  -  AA    TBAA  -  AA-AA   |  TBAA  TAA  TAA  TAA  -  AA  TAA  ITBAA  TAA  TAA  TAA     TAA   TAA  ItBAA-AA  -  AA  -    Ai  -  AA 

Ex.  89. 

1 1  .  1  : 1  .  1 1 1      : 1      1 1  .  1  : 1  .  1  jl      ^  -  1 1      : 1 . 1  1 1  .  1 :  1     1 1      : 1 .  J  1 1      .  - 

I TAA-TAI    TAA-TAI  TAA         TAA        I TAA-TAI    TAA-TAI  TAA  -      AA  I  TAA        TAA-TAI  TAA-TAI  TAA      I  TAA  TAA-TAI  TA»  •    -  AA 


Ex.  90. 

11   :1   :1.1|1   :1   :1  11   :1. 1:1. Ill  11.1:1   :1    11    :1.1:1  11.1:1.1:1.111 


I  TAA  TAA  TAATAll  TAA   TAA     TAA  I  TAA  TAATAI,  &0. 


Ex.  91.   E£Z  EI2.   Bound  m  three  parts. 

* 


(Is     :8     |n     :d    |t|     :s,     |d  |r 

I  |Ev    -    er       bloom  -  ing,    |  ev   -    er       gay,  |Bt 


t|     |d     :tn    |r     :r  |d 

er      wel   -   come,  jlove   -  ly  Ma^ 


22 


SECOND  STEP. 


Ex.  92.    Key  F.    Eotmd  in  four  paxts. 

n     :m     |ni     :r     Id     :d     |d     :t|    Id     :S|    |d     :r     in    :pi  |n 

are       met      let     |  mirth    a   -    botind,  and    |  let       the      catch     and      glee      go  round 


{     Now  I 


KET  A. 

d     :  S| 

sum  -  mer 

d     :  Si 


SWEET 


Id  :pi 

crowns  the 

Id  :d 


s 

pleas  ■ 

m 


n 

ant 

I  d 


SUMMER 

I  d 

earth 

Id  :s, 


Si 

With 


CROWNS. 

s,     :  t| 

beau  -  ty, 

s,     :  t, 


|r 

light, 

Ir 


:  s 

and 

:t, 


m 

love, 

d 


:d 

d     :  S| 

Id 

:  n 

s 

:  n 

Id  :s, 

ti 

:  r 

Is  :t, 

d     :  — 

1- 

And 

clear  blue 

skies. 

with 

smil 

-  mg 

mirth,  Speak 

bless 

-  ings 

from      a  - 

bove. 

:d 

d     :  S| 

Id 

:d 

t. 

:  s, 

Id  :s, 

t| 

:  r 

It,     :  s, 

d     :  — 

1- 

Ex.  94.   KEY  F.   Bound  in  kiree  parts. 

* 

d        :t|       Id        :r.r|m       :r        In       :s  {s.s:s.s|s 

fol      -     low        I  me  to     the  |  green  -   wood       |  tree,       Come       j  fol  -  low,  fol-Iowlme. 


|:s,  I, 

(  Come  I 


Ex.  95.   EST  C.   Bound  in  four  parts. 

{Im     :m     |r  Id     :  m     |s     :  —   I  d'     :  d'    1 1 .  d' :  r'.  1 1  d'    :s     |s  :- 

( jCome   let's      laugh,  I  come    let's     sing,  I  Win  -   ter      shall  as  merry  I  be       as  Spring. 


Ex.  96.  KEv  G.   Bound  in  four  parts. 

(|d.d:t|.t||d     :S|    |[n.n:r.r|in  :d 

I  iHappy,  happy  New  Year,    I  Happy,  happy  New  Tear, 


|s.3:s.s|s      :  m 

I  Happy,  happy  New  Tear, 


Sj.S,:  S|.S||  d 
Hear  the  merry  bell. 


II 


Ex.  97.   KEY  C.   Bound  in  two  parts. 

d  :d  :d  |n  :n  :rn|s  :  —  :  —  jd'  :  —  : 

Mer-ri  -  ly,    mer-ri  -  ly  |  danc   ...  ing, 


—  It  : t  : t  I r'  : r'  : r'  Id'  :  —  :  —  | 


Mer-ri  -  ly,    mer-ri  -  ly  |  glanc 


s  :  — : 


-  ing, 


il 


n  :n  :m  jd  :d  :d  |pi  :  — : — |m  :  — : 

Come  the  bright  rays  of    the   mom   -   -   -  ing, 


s  :s  :s  jt  :t  :t  Id'  :- 

Fill -ing   all   hearts  with  de -|  light 


!l 


Ex.  98.   KEY  G.   Bound  in  two  parts. 

n  :m  :  n  |r  :r  :r  Is  :s  :s  |  tn  :— : 

Cheerful  -  ness  com  -  eth   of  |  in  -  no  -  cent  song, 


d  :  d  :  d  1 1,  :  t,  :  t.  Is,  :  s,  :  s,  |  d  :  —  : 

Let   us    then  sing  as     we  I  jour-ney  a  -  long. 


SECOND  STEP. 


El  99.   KEY  F.   Ronnd  in  three  parts. 


a     :  8 

Come  ye 


:  s 

a 


way, 


* 


—  :  —  I  m    :  PI    :  m    |  r 

I  Come  ye       a  -  way, 


d  :d 

This  is 


t|    :  t| 

ve   -  ry 


fine 


d    :—  :d    |s,  :- 

sum    -    -    mer's  day, 


d     :  — 

Come 


:  PI 

a 


way. 


d  : 

Come 


It, 
way. 


Ex.  100.   KEY  D.    Round  in  four  parts. 

d  :d  :d  |d  :d  :d  i  n  :- 

Mer-ri   -  ly,    mer-ri  -  ly,  |  sound      the   horn;  |  Cheer-i  -  ly,    cheer-i  -  ly,  I  o'er         the  lawn; 


d:d  :d  |d:d  :d|ni  :  —  :r  Id  :  — :  —  |pi:m:pi|ni:n:mls  :  —  :s  In 


s  :  —  :s  |s  :— :s|s    :  —  :s  |s    :  — :  —  Id':  — :  —  |s  :— :  —  Id':—:— |s  : 

Let  it    ring         now  (loud         and  long;  |0n       •        ward,  I  On       -  ward. 


HAPPY  HOME. 

Ex  101.    EES  C.  B.  C.  U. 


s 

:  s 

Im 

:  s 

d'    :  — 

1-  :- 

t 

:d' 

|r' 

:  s 

n'  :  — 

/  -  :  - 

r'  :r' 

|r' 

:  s 

m 

:  m 

Id 

:  m 

n    :  — 

1-  :- 

r 

:  rn 

Is 

:  3 

s  :- 

■  :  - 

s    :  s 

Is 

:  s 

Sing 

we 

now 

of 

home, 

hap 

-  py. 

hap 

-  py 

home, 

Sing  we 

now 

of 

d' 

:d' 

Is 

:d' 

s    :  — 

S 

:d' 

It 

:t 

d'    :  — 

1-  :- 

t  :t 

it 

:t 

d 

:d 

!d 

:d 

d    :  — 

1-  :- 

s 

:  s 

Is 

:  s 

d    :  — 

1-  :- 

s    :  s 

Is 

:  s 

r'  :  r'  |  r'  :  s 
s    :  s    I  s    :  s 

hap  -  py     home,  of 


t  :t  It  :t 
s    : s    Is    :  s 


ra'  :r'  |d'  :t 
s    :  s    I  m    :  r 

hap  -  py,     hap  -  py 


di  :t  |d>  :s 
s    :  s    Is    :  s 


d'  I- 
m    :-  I- 

home. 


t  :t  It  :t 
r    :  r    |  r    :  r 

Yes,   with  heart  and 
Love,  that .  bright-ens 
Bless -ings  ev   -  er 
Love  with  last  -  ing 

s  :  s  I  s  :  s 
s    :  s    Is    :  s 


d'  :d'  |di  :d' 
m    :  n   |  pi   :  pi 

voice  un  -  tir  -  ing, 

ev  -  'ry  pleas -ure, 

new   in  -  vite  us, 

bonds  shall  bind  us, 

s  :  s  I  s  :  s 
s    :  s    I  s    :  s 


t  :t  It  :t 
r  :r  | r  : r 

We  will  join  the 
Brings  us  more  than 
Joy  and  so  -  cial 
While  the  fleet-ing 

s  :  s  I  s  :  s 
s  :  s  I  s   :  s 


d'  :d'  Id'  :d' 
PI  :  PI  I  R  :  PI 

strain  in  •  spir  -  ing, 
gold  -  en  treas-ure, 
mirth  de  -  light  us, 
mo-mentsfind  us, 

s  :  s  I  s  :  s 
s  :  s   !  s   :  s 


t  :d'  |r'  :s 
r  :  PI  |s   :  s 

Sing-ing  now  of 


s  :d'  It  :t 
s   :  s   Is   :  s 


n'  :  —  —  :  — 


home. 


Pi'  :  m'  I  r'  :  r' 
s   :  s  I  s   :  s 

hap  -  py,  hap  -  py 


d'  :d'  It  :t 
d'  :d'  Is  :s 


d'  :• 
PI  :  - 

home. 


d' 
d 


24 


SECOND  STEP. 


Ex.  102.     KET  G. 


M.  C.  S. 


SING  EVERY  ONE. 


B.  C.  U. 


:  S| 

|S| 

:  S| 

d     :  m 

In 

r 

3 

:  s 

Is 

n 

:  r 

1  d 

nil 

:  m, 

1  mi 

:  Hi 

pii    :  S| 

Is, 

: 

— 

t, 

:t, 

1  d 

:  — 

d 

:t. 

Id 

:  — 

1.  Sing 

when 

first 

the 

sun's    bright  beam, 

At 

the 

dawn, 

at 

the 

dawn 

0    Sin  a 

fit 

day 

when  the 

sun 

OH 

high, 

on 

high 

eve'^ 

-  nmg 

shad  -  owB 

fall, 

T.a  - 

bor 

done, 

-  bor 

don  6 

d 

:  a 

1  A 

\  d 

:  d 

A          .  A 

d     :  d 

1  A 

1  d 

• 

r 

:  r 

\  m 

• 

s 

:  s 

1  ni 

d 

:  d 

Id 

:  d 

d     :  d 

lS| 

— 

s. 

:  S| 

Id 

:  — 

S| 

:  s. 

Id 

:  — 

Sl 

1  a 

1  S| 

:  S| 

d     :  m 

In 

r 

.  A 

:  d 

\  m 

:  r 

d 

1 

pii 

n, 

1  nil 

:  nil 

ni    :  S| 

|S| 

s. 

:  s. 

Id 

:t. 

d 

1- 

Makes 

the 

dew 

-  drop 

dia  -  mond 

seem 

In 

the 

wel  - 

come 

mom. 

And 

its 

fer 

-  vid 

heat  we 

shun. 

Flood 

•  ing 

earth 

and 

sky. 

Sing 

till 

slam 

-  ber 

claims  ns 

all 

Sing, 

sing, 

ev  - 

'ry 

one. 

d  : 

d 

Id 

:  d 

d  :d 

Id 

t. 

r 

:  m 

1  s 

:  S 

PI 

1- 

d  : 

d 

Id 

:  d 

d     :  d 

Is, 

8, 

:  S| 

Is, 

:  S, 

d 

1- 

Silent  Pulse.  The  following  exercises  include  the  prac- 
tice of  the  one-pulse  silence.  The  teacher  may  explain  this  in 
his  own  way.  A  very  good  way  is  that  in  which  two-pulse  tones, 
and  half-pulse  tones  were  taught  in  the  first  step — that  is,  by 
singiug  a  simple  time-exercise  and  making  a  mistake,  passing 
over  a  pulse  in  silence,  the  pupils  calling  out,  wrong,  &c.  The 


time-name  of  a  silent  pnlse  is  SAA,  and  to  further  distinguish 
the  silence  names  they  are  printed  in  italics.  In  taataing,  the 
silent  pulses  are  to  be  passed  in  a  whisper — that  is,  the  time- 
name  SAA  is  to  be  whispered.  Some  teachers  prefer  to  whisper 
the  time-name  taa.  The  following  exercises  should  be  Taataid 
and  la^ed  on  one  tone  and  then  taataid  in  tune. 


Ex.  103. 

TAA  TAA 

TAA 

1  :1 

1 

d      :  Pi 

s 

d      :  r 

PI 

d      :  PI 

d 

Ex.  105. 

SAA 


SAA 


SAA 


Ex.  106. 


Ex.  104. 

TAA  SAA 

1  : 

TAA  SAA 

1  : 

TAA 
1 

TAATAI 

:1. 1 

TAA 
1 

TAA 

:  1 

d  : 

d 

d 

:d.r 

PI 

:d 

s  : 

s  : 

s 

:  PI .  r 

d 

:  PI 

d 

PI  : 

d 

:  s, .  PI 

d 

:s, 

TAA 
1 

TAA 

:1 

TAA 

:1 

TAA 
1 

SAA 

TAA 

:1 

TAA 
1 

TAA 

:1 

d 

:  d 

:  d 

n 

:  PI 

s 

:  s 

d 

:  PI 

:  8 

d 

:  d 

PI 

:d 

d 

:t, 

:  d 

r 

:  r 

Pi 

:  s 

SAA 


TAA 
1 

d 
s 
d 


SAA 


TAA 
1 

TAA 

:1 

TAA  SAA 

11  : 

TAA 
1 

TAA 

:1 

3AA-AA 
\  • 

TAA 
1 

SAA  -  AA  TAA 

:       1  :1 

TAA 
1 

SAA  . 

d 

:  d 

Id  : 

PI 

:  PI 

1  : 

8 

:        1        :  8 

d 

d 

:  r 

|Pi  : 

PI 

:  d 

1  : 

PI 

:         1         :  8 

PI 

Id 

:  8, 

Id  : 

m 

:  r 

1  : 

PI 

:         1         :  B, 

d 

8£CX)ND  STZP. 


25 


Ex  107.   EES  G,   Bound  in  four  parts. 


d 

j  I  I  March, 


PI     :  n 

Fal   -  ter 


march, 

r 

not 


:  r 

for 


* 

:si 

d  : 

1^ 

:d 

1  march 

a  • 

way, 

1  Who 

are 

|m 

=  1 

P,  : 

:  S 

|foe  - 

mane 

ire. 

|Now 

make 

tl 

read 


:t, 

1^ 

:t, 

-  y 

1  for 

the 

:  s 

1" 

:8| 

-  y. 

1  aim 

and 

I* 

I  fray; 


u. 


:  8 

shooti 


Ex.  108.   KETz  C.   Ronnd  in  two  parts. 


s   :d'  : 

Cue  -  koo. 


s  :d'  : 

ouc  -  koo. 


t   :t  :t 

list   to  the 


d'  : 

song; 


« 

s    :  n  :  d 

Sweetly  it 


s   :in  :d  |r   :r  :r 

floats  o'er  the  I  meadows  a 


T.  F.  S. 

n  : —  : 

long. 


Ex.  (09.   SET  D.   Bound  in  three  parts. 


(I 
II 


d  :  m  I  s  : 

See   the  bee, 


Is   :t  |r' 

I  on    the  lea, 


s  :3   It   :t  Id'  :  — 

is     his    mer  -  ry  I  Song, 


di  :  — Is 

hear  his 


n  :-| 

song — 


B.  C.  U. 


m:s  |d<  :s  |r  :s  jt  :s  |pi  :s  |r   :s  Id  : 

0     I      hear  it,  I  yes,  I      hear  it,  |  Hear  his   mer  -  ry  |  song. 


Ex.  110.     SET  C. 

■.i      t  : 

Who's  these? 


S 


I'm 


Don't  speak. 


:d  Id 

keep  still. 


:d' 
I 


t 

heard 


:  s     I  s 

hvsh,  kuah. 


VP 
:t 


d' 

sound. 


YES, 


:  8 

TE3 


d' 

WE 


Ah 


Id' 

YES, 


:d' 

who 


S 

sing. 


:d' 

who 


Id' 

sing 


:  8 

who 


n 

ring 


:d' 

this 

:  m 

this 


ut 

|r 
ut 


;t 

tie 

:  8 

tie 


d' 

song. 

d 

song. 


Ex.111.   KEY  6.   Bound  for  two  parta 


:d 

0 


{| 

(|r  :r 

(  not  d< 

jln  : 

I  I  will. 


Id 

haste. 


m  :  — 
lay. 


:r 

0 


:  m 

I 


r 

will. 


O  HASTE. 

|r  : 

haste, 
* 

d  : 

Yes, 


:  r 

I 


jr 
wm 


:  rn 

0 


:d 

I 


:r 

a 


In 

haste, 


r 

will. 


d 

way. 


—  I 


:r 

Do 


:r 
I 


26 


SECOND  STEP. 


Ex.  112.     KEY  El. 

d  :  — 
d    :  — 

Come 
Come 

m  :  — 
d    :  — 


m  :  m 
d  :d 

wea  -  ry 
that  I 


COME  UNTO  ME. 


A.  L.  COWLBT. 


S     :  8 

n   :  m 

HeaT-y 
Now  let 
8     : 8 

d  :d 


1  m  •  :  n 

r 

• 

• 

s    :  — 

1  s 

:  s 

PI 

• 

d  :d 

d  : 

r 

1  d    :  d 

ti 

t,  :  

1  ti 

d 

1  1  ■  • 

1  d 

* 

A 
u 

un  •  to 

me, 

Come 

tm  ■ 

■  to 

me. 

the 

un  -  to 

me, 

Come 

un  - 

to 

me. 

2.  Light  the 

bnr  - 

den 

1  8     :  S 

S 

r    :  — 

1  S 

:  s 

S 

1    • 

PI    :  — 

1  • 

Come, 

|d  :d 

8l 

Si     :  — 

1  Si 

:  Si 

d 

1  —  • 

d    :  — 

1  « 

1 8    :  — 

S 

:  m 

:d 

PI    :  r 

1  r 

•  "'  ■ 

1  PI  : 

s    :  — 

1    • 

It, 

m 

:d 

It, 

:d 

d  :t. 

It, 

d 

1  m  : 

s    :  — 

1     ^  • 

road, 

Faint-ing 

'neath  sin's 

heav  -  y 

load, 

Come, 

come. 

come. 

give, 

Learn  of 

me 

and 

low  -  ly 

live. 

Come, 

come. 

come, 

1  • 

8 

• 

d 

1  PI  : 

s    :  — 

Come, 

d 

d 

1  m  * 

a  t 

• 

1 8  in 

d' 

:t 

It 

u'   :  8 

1  s 

:  PI 

PI 

:r 

1  r    :  — 

1  m    :  d 

n 

:  r 

1  r 

PI    :  n 

1  ^ 

:d 

d 

:t, 

It,  :- 

• 

la  -  den 

and 

op  - 

preet. 

Come  to 

me 

and 

be 

at 

rest. 

ev  -  *ry 

sonl 

be 

blest, 

Come  to 

me,  &0. 

Be 

at 

1 8    : 8 

8 

:  s 

1  s 

s     :  8 

1  s 

:  s 

s 

:  8 

Is     :  — 

d'   :  — 

|d>  : 

Id  :d 

S| 

:8, 

|S| 

d  :d 

Id 

:d 

S| 

:8, 

Is,    :  — 

PI   :  — 

d  : 

PI 

1  • 

PI 

1 1^ 

r    :  — 

8 

• 

1  s  : 

PI   :  — 

d 

Id 

t,  :- 

d 

t 
« 

It,  : 

d    :  — 

■WW  • 

Be 

at 

rest, 

Come, 

come, 

come. 

• 

n 

1  s  : 

s    :  — 

1  1.  ^  • 

• 

• 
• 

8| 

• 

Is,  : 

d    :  — 

rest, 

t  :  — 
8    :  — 


Bz.  113.  E. 

d  :  d  :  d  I  m  :  PI  :  P) 
d  :d  :d  jd  :d  :d 

1.  O  -  ver  the  o  -  oean  of 

2.  Under    a   can  -  o  -  py 

3.  Mingling  onr  singing  with 

m  :  Pt  :  PI  1 8  :  s  :  s 
d  :d  :d  |d  :d  :d 


s  :  8  :  s  I 
m  :  m  :  «  |  d  :  — 

bright  sparkling  snow, 
gemmed  with  the  light, 
jingling   of  bells, 

d'  :d'  :d'  Is  :  — 
d  :d  :d  |d  :  — 


OVEB  THE  SNOW. 

PI  :  — : 


r  :r   :r  |s 

t,  !  t,  :  t|  1 1| 

Mer-ri  -  ly  0, 

Mer-ri  -  ly  O, 

Mer-ri  -  ly  0, 

8  :  s  :  s  I  r 


S|  :s,  :S| 


Si  :  —  :  — 


r    :  r 

ti  :t, 

mer  -  ri 
mer  -  ri 
mer  -  ri  -  ly 

S    :  S    :  S 

S|  :si  :8| 


:  r 

:t| 
ly 
ly 


E.  S.  Tatloe. 

Is 

|t| 

o, 

o, 

o, 
Ir 


< 


SECOND  STEP. 


27 


d  :d  : 

d 

1  ni 

:  PI 

:  m 

s   :  —  :  s  1  PI  :  —  :  — 

r  : 

r 

:  r 

Is 

:  s 

:  s 

d 

d  :d  : 

d 

Id 

:d 

:d 

PI  :  —  :  PI  1  d  :  —  :  — 

t,  : 

ti 

:t| 

It, 

:t. 

:t, 

d 

Swift  as 

a 

bird 

in 

its 

flight        we  go, 

Mer 

-  ri 

-  ly. 

mer 

-  ri 

-  ly 

0. 

Speed  we 

a  - 

way 

on 

our 

path   -     way  bright, 

Mer 

-  ri 

-  ly. 

mer 

-  ri 

-  ly 

0. 

0  -  ver 

the 

val  - 

ley 

our 

mn    -    -  sic  swells, 

Mer 

-ri 

-  ly. 

mer 

-  ri 

-  ly 

0. 

m  :  m  : 

m 

|8 

:  s 

:  S 

d'  :  —  :  d'  Is  :  —  :  — 

s  : 

S 

:  s 

|r 

:  r 

:  r 

PI 

d  :d 

d 

Id 

:d 

:d 

d  :—  :d  |d  — 

S|  : 

S| 

:8| 

Is, 

:si 

:s. 

d 

I- 


CHOKTJS. 


s  : 

S 

:  s 

1  s  :  s 

:  s 

s  :  —  :  — 

Id'  :-: 

PI  : 

n 

:  PI 

In 

:  PI 

:  n 

PI 

Is  :-: 

PI  : 

PI 

:  m 

n  :  n 

:  PI 

PI  :  — :  — 

d  : 

d 

:d 

Id 

:d 

:d 

d 

In  :-: 

Mer 

-  ri 

-  ly. 

mer  -  ri 

-  ly 

0,  ^ 

Mer 

-ri  - 

ly. 

mer 

-  ri 

-  ly 

0, 

1  : 

s  : 

S 

:  s 

Is 

:  s 

:  s 

s 

Id'  :-: 

d  : 

d 

:d 

Id  :d 

:d 

d 

d  : 

d 

:d 

Id 

:d 

:d 

d 

1-:-: 

D.  a 


:     1  : 

PI  :  PI 

:  PI 

|Pi 

r  : 

r 

:  r 

Is 

:  s 

:  s 

d 

1-:-: 

d  :d 

:d 

Id 

t,  : 

t, 

:t, 

It, 

:t, 

:t, 

d 

:     1  : 

Swift-ly 

we 

go. 

Mer- 

ri 

-  ly. 

mer 

-  ri 

-  ly 

0. 

0  -  ver 

the  snow, 

s  : 

s 

:  s 

|r 

:  r 

:  r 

PI 

d  td 

:d  Id  :- 

s,  : 

S| 

:s. 

Is, 

:s. 

:si 

d 

Ex.  114,    KEY  F. 

/  PI.  n  :  PI     :  d 

\  d .  d  :  d      :  s, 

)  1.  still  like  dew  in 

\  2.  Day  and  night  the 

/  s  .  s  :  s      :  m 

I  d.d :d  :d 


PI .  PI  :  s  :  PI 
d  .  d  :  PI     :  d 

si  -  lence  fall  -  ing, 
spell  hangs  o'er  me, 

s  .  s  :  s  :  s 
d .d :d  :d 


STILL  LIKE  DEW. 

r  .  r  :  r  .  r  :  d  .  r 

t, .  t, :  t| .  t,  :  d  .  t,  ' 

Drops  for  thee,  the  nightly 
Here  for-ev-er  fix' d  thou  ; 

s.s:s.s:s.s  i 
s, .  s,  :  s,  .  s,  :  pi,,  s,  < 


PI  :  —  :  . 
d      :—  : 

tear, 
art, 

s      :  — 
d  : 


B.  C.  Dnseld. 

PI .  PI  :  PI  :  d 

d  .  d  :  d  :  s, 

still  that  voice  the 

As   thy  form  first 

s  .  s  :  s  :  m 

d  .  d  :d  :d 


PI.  pi:  s     :  PI 

r  . r  :r  . r  : pi. r 

d    :—  : 

8     :  —  : 

n  J 

d.  d :  PI    :  d 

t| .  t| :  t, .  t, :  t, .  t| 

d  : 

t|  : 

t,    :-  : 

d    :-  : 

past  recall  -  ing, 

DwjDs  like  echo  on  my 

ear, 

stm. 

stm, 

stiU. 

shone  before  me, 

So  'tis  graven  on  this 

heart. 

Deep, 

deep, 

deep. 

s .  s  :  s     :  s 

s . s  :s  . s  :s  . s 

• 

PI    :  —  : 

s     :  —  : 

s     :  —  : 

s     : —  : 

d.d:d  :d 

S).  s,  :S|.  s,  :S|.  s, 

d    :—  : 

S|     :—  : 

s,     :—  : 

d     :-  : 

28 


SECOND  STEP. 


Pulse  and  half  tones  may  be  tanght  as  follows.  The 
t«aoher  writes  the  foUowing  exercises  on  the  board. 


TAX 

1 


I 


TAATAI  TAA 

:1    .1  |1 

TAATAI  TAA 

:1    .1  H 


TAA 

:  1 

TAA 

:  1 


TAA 

TAA 

|1 


TAATAI  TAA 

:1    .1  |1 

TAATAI  TAA 

:1   .1  |1 


TAA 

:1 

TAA 

:  1 


And  when  they  ase  correctly  snng  he  changes  the  second  r»t«  to 

TAA    -     AA    TAI  TAA        TAA       TAA  -    AA       TAI  TAA  TAA 

|1        :-   .1  U        :1        |1        :-   .1  |1         :1  |, 

and  explains  that  in  the  first  and  third  measttree  the  tones  are  to 
be  continned  from  the  first  pnlse  into  the  first  half  of  the  sec- 
ond, making  the  tone  a  pnlse  and  a  half  long.  The  exercise 
then  to  be  taataid  and  la-ed  from  the  teacher's  pattern.  The  two 
exercises  may  then  be  song  alternately.  The  following  exerciser 
are  to  be  taataid  and  laed  on  one  tone  and  taataid  in  tone. 


Ex.  115. 


Ex.  116. 


TAA 
1 

TAATAI 

:1  .1 

TAA  - 
1 

AA  TAI 

:-  .1 

TAA  - 
1 

AA  TAI 

:-  .1 

TAA 
1 

TAA 

:1 

d 

:  n 

.r 

d 

:  -  .r 

n 

:  -  .3 

m 

:  d 

m 

:  s 

.  s 

PI 

:  -  .r 

d 

:-  .t, 

r 

:  d 

s 

:  m 

.  m 

s 

:  -  .m 

r 

.d 

t, 

:  d 

TAA 

TAA 

SAA  TAATAI 

TAA  -  AA 

TAI 

TAATAI 

TAA 

1 

:1 

:1.1 

1  :- 

.1 

1 

.1 

:1 

d 

:  s, 

:  d.r 

n  :- 

.d 

.d 

:  r 

m 

:  d 

:  r .  d 

s  :- 

.  m 

r 

.d 

:t, 

n 

:  3 

:d.r 

n  :- 

•S| 

PI 

.r 

:  d 

Ex.  117. 


TAA     -  - 

AA  TAI 

TAA 

TAA 

TAA 

TAA 

TAA  - 

AA  TAI 

TAA 

TAI 

TAA 

TAA 

SAA 

1  : 

-  .1 

:1 

1 

:1 

:  1 

1 

:-  .1  : 

1  . 

1 

1 

:  1 

d 

-   .  r 

PI 

S 

:  PI 

:  d 

t, 

:  -   .  d 

PI 

r 

d 

n 

-   .  r 

d 

r 

:  d 

:  t, 

d 

:  -  .Si 

PI 

d 

3 

:  d 

8 

-   .  PI 

d 

m 

:  r 

:  n 

s 

:  -  .  d'  : 

s  . 

PI 

d 

:  m 

Ex  118. 

KEY  F. 

Roimd  for  three  parts. 

U. 

:  -  .  s 

|8 

.sin. 

r  :d  .t, 

- 

i; 

.  n 

In 

:  -  .  r 

Using 

we  1  now 

a  1  mer 

-  ry,  mer  -  ry 

|iay. 

1  Let 

as 

1  aU 

be 

d  .  t|  :  d  .  r  I  PI 

hap  -  py  while  we  |  may, 


d 

As 


:d 

we 


d 

jour 


:d 

ney 


8| 
on 


S, 
our 


d 

way. 


Ex.  119.    KBT  G.    Bound  for  four  parts. 

d  .  T  :  m  .  d|  s 


I  ilie&m 


to  sing, 


: -  .rl n 

to  I  rest 


-  .rlr  :d 

the  wea   -  ry, 


d.  r  ;  PI .  d 1 8|     : -  . t|| d 

Learn        to  sing,  to  Icheer 


A.  L.  0. 

.t,|t,  :d 

the  drear  -  y, 


w 


d  .  r  ;  n  .  d  |  s 

Learn         to  sing. 


:-  .8||S|      :8,     |S|  :d 

to  [soothe   the      tear   -  ful, 


d.r 


Leam 


jn  .  d  I  S| 

to  sing. 


.sis      :s     |s  :m 

to  I  make    life     cheer  •  fa) 


SECOND  STEP. 


A.  S.  KlUFFBB. 

Ex.  120.   EES  6. 


GENTLE  SPRING  IS  HEHE  AGAIN. 


B.  C.  UMBXIiD. 


.s,  Id 

:d 

r 

:d  .r 

1  PI  : 

— 

s  :- 

.8   1  S 

:  PI 

r 

:  — 

Id 

PI, 

.  Pill  S| 

.  <x 

•  A  f 

.  U  .  bl 

1  A 
\  ^ 

A 

A  1  A 
.  (1  1  CL 

•  A 

M 

1  A 

1 

* 

1.  Gen 

tie  Bpring 

is 

here 

a 

gain, 

Bring 

ing  mirth 

and 

glad 

ness; 

2.  Tears 

a  -  so 

her 

gen  - 

tie 

voice, 

Filled 

my  heart 

with 

pleas 

ure, 

3.  All 

a  -  lone 

she 

calm 

-  ly 

sleeps, 

Un    -  - 

der-neath 

the 

wll  • 

low, 

d 

:- 

.d  1  PI 

;  p^ 

g 

;  g 

1  S  '• 

PI     :  — 

.  PI  1  PI 

;  s 

g 

,  __ 

1  m 

d 

•  — 

.  Q.  1  U 

•  A 
.  CI 

S| 

:  Pi|.  S( 

1  A 

A  1  A 

.  Q. 

S| 

1  A 

* 

.S|  1  d 

:d 

r 

:d  .r 

1  PI  : 

— 

s  :- 

.  s  1  s 

:  PI 

r 

:  — 

Id 

t 

Pl| 

!  — 

ITIil  Qi 
.  I'ljl  S| 

•  d 

f, 
"1 

•d  t, 

.  U  .  u| 

1  d 

u.  ■ 

d  1  A 

•  d 

f, 

1  d 

Ana 

the  sing  - 

ing 

birds 

have 

come, 

Chas  - 

ins  sloom 

and 

sad 

ness, 

And 

life's  lot 

■was 

fuU 

of 

joy. 

With 

this  sin  - 

gle 

treas 

.  .  . 

ure; 

And 

the  hare 

-  bells 

mute 

-  ly 

weep. 

Tears 

up  -  on 

her 

pil  - 

low; 

d 

:- 

{\  1  m 

.  U   1  1  1 

.  I'l 

a 

o 

I'l  . 

m  1  m 

.  s 

q 

In 

d 

:  - 

A  1  A 

S| 

:  Pi|.  S| 

1  A 

A 

u      .  — 

A   1  A 

•  A 

.  Q. 

S| 

Id 

r 

•  ~ 

.  r  1  r 

:  r 

tl 

:d 

1  r  ' 

— 

PI  :- 

.  PI  1  n 

:  n 

d 

:  r 

|Pi 

ti 

J  — 

.t|  |t| 

:  t| 

|S|  : 

S|  :- 

.  S|  1  S| 

:  S| 

S| 

Is, 

But 

Tn  V     pa  T^, 

is 

^'d 

:  mi^ 

lone, 

Thmiah 

X  XXKJ  UgU 

try 

days 

'h 

flown. 

Bnt 

Tl  rt  inv 

now 

give, 

Tem-nt  - 

1  Tl  CT  wi  f  Vl 

the 

wisti 

to 

live. 

But 

ll6r  f8>C6 

still 

-  Iv 

Com 

ing  to 

me 

in 

luy 

dreams — 

r 

•  r  1  r 

•  r 

r 

•  A 

1  M 

A 

A  1  rl 
.  u.  1  u. 

•  A 

A 
U 

Id 

s- 

.S,  1  S| 

:  S| 

S| 

:S| 

S|  : 

a  :- 

.  d  1  d 

:  a 

Pl| 

:  S| 

Id 

S| 

.S|  1  d 

:d 

r 

:d  .r 

1 P)  : 

s  :- 

.8   1  S 

:  PI 

r 

Id 

pii 

.  Pill  S| 

:d 

ti 

:d  .t| 

Id  : 

d  :- 

.d  Id 

:d 

ti 

Id 

For 

I  miss 

the 

lov  - 

mg 

tone. 

Which 

could  bring 

it 

glad 

ness. 

And 

I    lin  - 

but 

to 

grieve 

For 

the  dear 

lost 

treae 

ure. 

Like 

an  an 

gel's 

still 

it 

seems — 

Bend  - 

ing  o'er 

my 

pil  - 

low. 

d 

.d  1  PI 

:  PI 

S 

:s 

1  s  : 

n  :- 

.  PI  1  n 

:  8 

8 

jm 

d 

.did 

:d 

S| 

:  Pi|.S| 

Id  : 

d  :- 

.d  Id 

:d 

S| 

Id 

Ex  121.     K£T  G. 


BANISH  SORROW. 


B.  C.  U. 


:si  .S| 

)1.  Banish 
(2.  Here's  a 
J3.  Join  we, 

d  .d 
^■d  .d 


m 

:  -  .  PI  :  d  .  n 

s 

:  PI 

:  PI  .  PI 

r 

:  -  .  r  :  8  .  r 

PI       :  — 

:  PI  .  n 

S| 

:  -  .  S|  :  8|  .  d 

d 

:d 

:d  .d 

t, 

:  -  .  t| :  tl  .  t| 

d       :  — 

:s,  .  S| 

aU 

desponding 

sor 

row. 

Tho'  the 

skies 

may  frown  to- 

day; 

Shall  not 

hand 

for  ev  -  'ry 

broth 

-  er, 

Working 

stout 

ly,  climbing 

slow. 

Here's  a 

then. 

in  bravest 

cho  - 

rus. 

Sing-ing 

all 

our  pains  to 

rest 

While  tho 

d 

:  -  .  d  :  PI  .8 

n 

:  8 

:  8  .  s 

S 

:  -  .  s  :  r  .  s 

8        :  — 

:d  .  d 

d 

:-  .  d  :d  .d 

d 

:d 

:d  .d 

S| 

:  -  .  8|  :  S|  .  S| 

d       :  — 

:d  .d 

30 


SECOND  STEP. 


sun 
wiU 
heaVn 

d 
d 


:  -  .  PI  :  d  .  m 

s 

:  n 

r 

:  -  .  s  :  s  .  t| 

d        :  — 

:  -  .  S|  :  S| .  d 

d 

:  d 

:  d  .d 

ti 

:  -  .  t| :  t|  .  S| 

S|        :  — 

shine  with  to  - 

mor 

row, 

O'er  its 

a   -  - 

-   zure  beau  -  ty 

play? 

to     help  each 

oth  - 

-  er. 

In  the 

doubt 

we    all  must 

know. 

gleams  Mnd-ly 

o'er 

ns, 

Light  and 

joy 

shaU  make  us 

blest. 

:  -  .  d  :  n  .  s 

n 

:  s 

:  S  .  S 

S 

:  -  .  s  :  r  .  r 

PI        :  — 

:-  .d  : d .d 

d 

:  d 

:  d  .  d 

S| 

:  -  .  S|  :  S|  .  S| 

d        :  — 

:  m  .  m 
:  d  .  d 

Life  mustf 
Hopes  are 
Strength  shallt 

:  s  .  s 
:d  .d 


r 

•  ^ 

.  t,  :  d  .  r 

m 

:  d 

:  n  .  tn 

r 

:-  .t|  :d  .r 

PI        :  — 

t, 

•  mm. 
• 

.81  :  S|  .S| 

S| 

:  8, 

:  d  .  d 

t, 

:  -  .  S|  :  S|  .  S| 

s,       :  — 

bring 

its   toils  and 

trou 

-  bles. 

But  the 

heart 

that  fears  and 

faints, 

cheered 

and  loads  and 

light 

•  ened, 

By  the 

mag  - 

-   -   -  ic     of  a 

word, 

s-toop 

to    lift  the 

weak 

-  est. 

Love  the 

low  - 

-   -   -  nest  grief  shaU 

see, 

S 

• 

.  r  :  d  .t| 

d 

:  n 

:  S  .  8 

S 

:  -  .  r  :  d  .  t. 

d       :  — 

S| 

•  mm. 

.  S|  :  Ri  .  S| 

d 

:d 

:  d  .  d 

1 

8' 

:  -  .  S|  :  ni|  .  S| 

d       :  — 

:  PI  .  PI 
:  s,  .  s, 

Makes  the 
Dusk  -  y 
Pride  no 

:d  .d 
:  d  .d  / 


m 

•  — 
• 

.  m  : 

d  .  PI 

s 

:  n 

:  PI  .PI 

r 

:  -  .8 

:  s 

.t, 

d 

8| 

.8,  : 

S|  .  d 

d 

:d 

:d  .d 

t, 

.-  .t, 

:t| 

.  S| 

S| 

• 

heav 

■  y 

bur  -  den 

dou  - 

-  bl«. 

Heap-ing 

care 

with 

vain 

com- 

plaints. 

day 

by 

smiles  are 

bright 

-  ened. 

Ere  the 

friend 

 ly 

tone 

is 

heard. 

more 

shall 

spurn  the 

meek 

est; 

Broth-ers 

firm 

and 

true 

are 

we. 

d 

.d  : 

PI    .  S 

PI 

:  8 

:  S    .  S 

8 

:  -  .8 

:  r 

.  r 

PI 

d 

.d  : 

d  .d 

d 

:d 

:d  .d 

8| 

:-  .8, 

:si 

.81 

d 

Quarter-pulse  tones  are  to  be  taught  next.  The  method 
for  doing  this  need  not  be  described — the-same  process  pursued 
with  half-pulse  tones  may  be  used  or  they  may  be  taught  at  once 
by  pattern  from  the  Time  Chart  or  Finger-signs  or  from  the  ex- 
wcises  below.    They  are  named  tafatefe.     They  are  indicated 


in  the  notation  by  a  comma  in  the  middle  of  each  half-pnlse, 
thus,  |1 ,1  .1 ,1  : 

tafa  tefe. 

Exercises  to  be  taataid  and  la-ed  and  taataid  in  tune. 


Ex.  122 


T4A 

TAI 

TAA 

TAI 

ta-fa 

-  te  -  f e 

TAA 

TAI 

ta  - 

fa 

-  te 

-  fe 

TAA 

1 

:1 

.1 

1 

.1 

:1  ,1 

.1  ,1 

1      ■  . 

1 

:1  ,1 

.1  ,1 

1 

d 

:  m 

.  PI 

s 

.  8 

:  d  ,d 

.d  ,d 

PI 

PI 

:  s  , 

S 

.  s 

,  8 

d 

d 

:  B, 

.  PI 

d 

.  d 

:  PI  ,1 

•  d  ,t, 

d 

81 

:  n  , 

r 

d 

,  t, 

d 

Ex.  123. 

ta  -  fa-  te  -  te 

TAA 

TAI 

ta  •  fa 

-  te  -  fe 

TAA 

TAI 

ta-fa  - 

te  • 

fe 

TAA 

rAx 

TAA 

Tll 

TAA 

1  ,1  .1  ,1 

:1 

.1 

1  ,1 

.1  ,1 

:1 

.1 

1  ,1 

1 

,1 

:1 

1 

1 

.1  : 

1 

d ,d .d  ,  d 

:  PI 

.  d 

PI  ,  PI 

.  PI  ,  PI 

:  s 

.  PI 

S  ,  S 

.  s 

.  s 

:  s 

m 

d 

.  PI  : 

d 

S  , S  .8   ,  S 

:  6 

.  PI 

m  ,  PI 

.  PI  ,  PI 

:  n 

.  m 

r  ,d 

t, 

.d 

:  r 

s 

PI 

.  r 

d 

SECOND  STEP. 


ta 

-  f  a  -  te 

-fe 

TAA 

TAI 

TAA 

ta 

I 

:1 

,1  .1 

,1 

1 

.  1 

:1 

1 

S 

:  8 

,  m.d 

,  PI 

s 

.  s 

:  s 

S 

r 

:  r 

,  r  .r 

,r 

r 

.  s 

:  m 

r 

fa  -  te  -  fe  ta  -  fa  -  te  -  fe 


8  .S 


liX.  124.     KEY  G. 

d     :d  Id 

Oae,     two,  three, 


Ronnd  in  three  parts, 

* 

:  d     1 1| .  t| :  t|     I  d .  d  :  d     I  m     :  m 

four,    I  keep  the  time,  keep  the  time,  |Oiie  two, 


TAA 

TAI 

TAA 

1 

.  1 

:1 

s 

•  PI 

•  A 

•  u. 

d 

.  PI 

:  d 

r  .  r 

:  s 

1  m . 

A.  L.  0, 

n     :  PI  ■ 

three,    four,    IVoioes  chime,    voices  chime, 


Tra  la   la   la  la 


.  P) 

la 


d 

la 


.  m 

la 


:  s 

la. 


S|,  Si.  S|,  S|  :8|    .  S| 

ITra  la    la   la   la  la 


d 

la 


Ex.  125.    KEY  A.      Bound  in  four  parts. 

I S{ ,  S|.  S|,S|:  d     .d     j r  ,  r  .  r  ,  r  :  pi  Is  ,  s  .  s  ,  s  :  d,  d.  d  .  d  |t|,  t|.  t|,  t|:  d 

iBeauty  in  the  wood  -  land,   (Beauty  in    the  glen;  iBeauty  In    the  fertile  meadowjAnd  the  marshy  fen. 


Ex.  126.    KEY  F.    Round  in  four  parts. 


Id  ,  d  .  d,d:  PI  .pi 

|Mer-ri  -  ly  the  bells  are 


r     .  r 

ring  -  ing 


:  PI 

near; 


PI ,  PI .  PI ,  PI  :  S      .  S 

Cheeri  -  ly  the  birds  are 


t| 

sing 


.t, 

ing 


:d 

here. 


S  ,  S  .  S  ,  B  :  S 


.  8 


iLiaten   to  the  bellsl  how 


S  ,  S  .  S  ,  S  :  S 

mer-ri  -  ly  they  ring ! 


d,d.d,d:d    .d      I  S|,  S| .  S| ,  Si :  d 

[Listen    to  the  birds  !    how     jcheeri  -  ly  they  sing. 


A.  S.  KCBFFKB. 
Ex.  127.    KEY  C. 


LOVELY  MAY. 


R  0.  Uhsxld. 


s     .  s 

:  s 

8,8. 

s  ,  s  :  s 

s 

.  PI 

:  s 

.  d' 

d> 

:t 

PI    .  n 

:  PI 

PI,  n. 

PI ,  PI  :  PI 

PI 

.d 

:  PI 

.  n 

n 

:  r 

1.  Love-ly 

May, 

mer-ry, 

merry  May! 

Bird 

■  lets 

now 

are 

sing 

-  ing, 

2.  Hap  -  py 

May, 

mer-ry, 

merry  May! 

With 

our 

songs 

we 

greet 

thee 

3.  Balm  -  y 

May, 

mer-ry, 

merry  May! 

How 

we 

love 

thy 

glad 

-  ness, 

d'    .  d' 

:d' 

di,  di . 

di,di  :d' 

d' 

.  S 

:d' 

.  S 

S 

:  8 

d     .  d 

:d 

d  ,  d  . 

d,d  :d 

d 

.d 

:d 

.  d 

S 

:  8 

r' 

.  r' 

:r' 

r',  r'  .  r',  r':  r' 

Pii 

.  r' 

:  d' 

.t 

d' 

s 

.  s 

:  s 

s ,  s  .  s  ,  s  :  s 

s 

.  s 

:  n 

.  r 

PI 

Ev  - 

ery 

-  where 

thro'  the  balmy  air 

Songs 

of 

pleas 

-  ure 

ring  I 

On 

the 

hill. 

by  the  shining  rill 

Now 

we 

wel 

-  come 

thee; 

Buds 

and 

flow'rs' 

thro'  the  sunny  hours, 

Ope 

their 

scent 

-ed 

leaves; 

t 

.  t 

:  t 

t, t  .  t, t  :  t 

d' 

.  t 

:  d' 

.  S 

S 

S 

:  8 

:  8 

8 ,  s  .  s ,  s  :  s 

8 

.  s 

:  s 

.  8 

d 

82 


SECOND  STEP. 


8 

.  8 

:  m 

.  n 

s 

s 

:  d' 

t  ,t    .  t  ,t 

:  r* 

d',di  .  d'jd' 

:  n' 

m 

.  n 

:d 

.d 

m 

.  n 

:  n 

r  ,r  .  r  ,r 

:  r 

pi,m  .  PI  ,pi 

:  n 

-  come, 

wel 

-  come 

love 

-  ly 

May, 

Merry  merry 

May, 

merry,  merry 

May; 

d> 

.d' 

:  s 

.  S 

d' 

.d' 

:  s 

S  ,S  .8,8 

:  8 

d',di  .  d',d' 

:d' 

d 

.d 

:d 

.d 

d 

-d 

:d 

S  ,8   .  8  ,S 

:  8 

d  ,d  .  d  ,d 

:  d 

8  .8  :  m 
m    .  m     :  d 

Wel  -  come,  wel 


.  m 
.d 

come 


d'  .d'  :8  .8 
d    .d     :d  .d 


8  .  8 

m  .  m 

love  -  ly 

d'  .d' 

d  .d 


:  m' 
:  8 

May, 

:d' 
:d 


m',ni'  .m',m':r'  ,r'  .r'  ,r' 

8  ,8   .8  ,S    :8  ,S   .8  ,8 

Merry,  merry,  merry,  merry 

di,di  .d',  d':t  ,t  .t  ,t 

8  ,8   .  8  ,  8  :  8  ,8   .  8  ,8 


d' 
n 

May. 

d' 
d 


Modulator  Voluntaries,  Eab  Exeboises,  Dictation, 
Pointing  and  Writing  from  Memory,  as  described  in  the  first  step 
Me  to  be  practiced  regularly  at  every  lesson.  Pulse  and  a  half 
tones,  quarter  pulse  tones  and  silences,  aa  in  the  following  ex- 
ample— 

d        :-  .r|n       :         |n,i<).n,n:n  .r    |d       :  —  B 

vould  be  dictated  thus,  "TEAAd,"  " — aatait,"  "tlaap),"  "SAA," 


"tafatefe  n  n  n  n,"  "taatai  n  r,"  "tt.aa-a*  d." 

Certificates. — Pupils  now  begin  to  make  up  their  list  of 
three  tunes  for  the  Junior  School  Certificate  or  six  tunes  for  the 
Elementary  Certificate.  No  tune  of  less  than  eight  four-pulse 
measures  or  sixteen  two-pulse  measures  should  be  accepted.  For 
instructions  in  Voice  Training,  Brsathing,  Harmony,  etc,  be- 
longing to  this  step,  the  teacher  wiU  consult  the  Standard 
Course. 


QUESTIONS  FOR  WRITTEN  OR  ORAL  EXAMINATION. 


1.  What  two  new  tones  have  yon  learned  in  this 
stept 

S.  What  it  the  relative  position  of  Bag  to  Dek  t 

a.  What  is  the  relative  position  of  T»  to  Dek  t 

i.  What  is  the  mental  effect  of  Bay% 

5.  What  is  the  mental  effect  of  T«t 

e.  What  is  the  manual  sign  Bay  1  For  oa*-Bag  I 

7.  What  is  the  mannal  sign  for  T«1  For  r«-on«t 

8.  What  chord  is  formed  of  the  tones  d  ra  si 

9.  What  chord  is  formed  of  the  tones  ■  t  r  t 


DOCTKINE. 

10.  What  new  kind  of  accent  have  yon  learned  in 

this  step! 

11.  How  is  the  medixun  accent  Indicated  in  the  no- 

tation) 

12.  How  is  the  medinm  accent  indicated  in  the 

time-names? 

13.  What  two  new  kinds  of  measnre  have  yon 

learned  in  this  step! 

14.  What  is  the  order  of  accents  in  foor-pnlse 

measnre! 

15.  What  is  the  order  of  accents  in  six-poise  meas- 

ure! 


16.  What  is  the  time-name  for  a  silent  poise! 

17.  How  is  it  indicated  in  the  notation ! 

18.  What  is  the  time-name  of  a  polae-and-a-half- 

tone? 

19.  How  is  it  indicated  in  the  notation ! 

20.  What  is  the  time-name  of  four  qoarter-pulse 

tones! 

21.  What  is  the  time-name  of  the  first  qnarter  of 

a  pulse!  The  second!  The  third?  The 
fourth! 

22.  How  are  quarter  poises  indicated  in  the  nota- 

tion! 


(3.  Sing  to  la  the  Bay  and  the  Tt,  to  any  Dok  the 

teacher  gives. 
24.  Ditto  the  JKoyi  and  Te  to  any  DohK 
iS.  Taatai  from  memory  any  one  of  Exs.  103  to 

106, 115  to  117,  chosen  by  the  teaoher, 

86  Taatai  the  npper  part  of  one  of  the  Exs.  131 
<yi  127,  chosen  by  the  teaotier. 

S7.  Taatai-ln-tnne  the  npper  part  of  Bzs.  113  or 

114,  chosen  by  the  teaohw. 
as.  Point  on  the  Modolator  (sol-faing)  any  one  of 

the  following  four  Bx*.  70,  72,  93,  95,  chosen 

by  the  teaoher. 


PRACTICE. 

89.  Write  from  memory  any  other  of  these  exer- 
cises chosen  by  the  teaoher. 

30.  FoUow  the  teacher's  pointing  in  a  new  volun- 

tary, containing  Doh,  Me,  Soh,  Te  and  Bay, 
hot  no  difficulties  of  time. 

31.  From  any  phrasej(belonging  to  this  step)  snng 

to  figures,  tdl  yonr'  teaoher  (or  write  down) 
which  figure  was  snng  to  Bay, — to  Bay', — 
to  Te.— to  Te,. 

32.  Having  heard  the  tonic  chord,  tell  your  teach 

er|(or  write  down)  which  tone  (Voh,  Me,  BoK 
Te  or  Bay)  was  song  to  la.  Do  tiiis  with 
two  different  tones. 


J3.  Taatai  any  Khythm  of  at  least  two  measorea 
belonging  to  this  step  which  the  teacher 
shall  la  to  you.  He  wUl  first  give  yon  the 
measure  and  rate  of  movement  by  taataing 
two  plain  measures  and  marking  the  accent 
by  r  and  {  without  beating  time,  but  the  two 
measures  yoo  have  to  copy  he  will  simply  la 
on  one  tone. 

34  Taatai-in-tnne  any  Khythm  of  at  least  two 
measures,  belonging  to  this  step,  which,  af- 
ter giving  the  measure  and  rate  as  above, 
tilt  teaoher  may  sol-fa  to  yoo. 


THIRD  STEP. 


TTte  prominent  topics  of  the  Third  iStep  are  as  fnOoios  —The  tones  Fah  and  Lah,  completing  the  Scale.  The  Sarudard  Scale,  Tb  pitch 
tunes.  (Aossification  of  wices.  The  Metronome.  The  Salf-pidse  Silence.  Various  combinaiions  of  Qmrter-pxdses.  Syncopation.  Modiji- 
laaon  of  me/rial  effects. 


The  tones  Fah  and  Lah  are  nov  to  be  taught 
The  method  for  doing  this  need  not  be  described, 
the  same  process  which  was  used  for  r  and  t  will 
be  used  for  the  new  tones,  see  p.  15.  The  mental 
effect  of  Fah,  a  gloomy,  seiions,  desolBte  tone  and 
of  Lah,  a  sorrowful,  weeping  tone,  may  be  shown 
by  the  following  examples. 


KEx  C  or  D. 
d    :s     1  PI 

:d 

If 

:-  Id  :- 

d'   :  m 

Is 

:d' 

If 

:-  jm  :- 

d  :n 

|r 

:s 

If 

:-  In  :- 

KET  6. 

d  :s 

In 

:d 

KEY  C  01  D. 

I d  :m  I  s 
Id 


:  n 

KEY  G. 

I  d  :pi 

'  Id  :r 


s 


In 


:n 

:  m 

:1. 
:d 


II 

Id' 

Id 
II, 


Is  :- 
1    :  — 


II. 

Is,  :- 


After  the  mental  effects  of  the  new  tones  are  developed  and 
their  appropriate  hand-signs  taught,  the  tones  are  then  to  be 
thoroughly  practiced,  from  the  modulator,  hand-signs,  ear  exer- 
cises, &c.  The  chord  of  FAH,  or  Svb-Dominant,  consisting  of  the 
tones  f  1  d',  may  be  brought  out.  See  chords  of  DOH  and 
SOH,  page  16.  The  chord  of  Seven-Soh  ('S)  or  Dominant  Sev- 
enth, consisting  of  the  tones  s  t  r  ^  although  belonging  to  the 
Fourth  Step,  may  be  taught  at  this  point 

The  following  exercises  should  be  carefully  taught  by  pat. 
tern  from  the  modulator. 


Ex.  128.     KEY  C. 

d  :m  :8  If  :1   :d'  Is  :t  :r'  Id'  :— : 


||d  :m  :8  |f  :1   :d'  j 


—  |r'  :t  :s  Id'  :1   :f  Is  :r  :r  Id  : — : — 


Ex.  129.     KEY  C. 

d  :m  Is  :n  jf  :1  |  d'  :1 
d    :s     |m    :3     Id'    :1      If  :1 


Ex.  130.    KEY  A. 

||  d  :n  :d  jl|  :f|  :1|  js,  :t|  :r  |d  :- 


s  :t  |r'  :t  |  d'  :—  | 
d'    :s     It     :r'    I  d' 

-  I  d  :Si  :  nil 


d  :li  :f|  |r  :t|  :S|  Id  :-  :- 


Ex.  131.    KEY  G. 

d     :si     In    :d     Id     :1,     |f  :!, 


m    :d     |S|    :d     |f     :d     |lt  :d 


S|  :t,  ir  :f  |m  :—  |—  :—  | 
t,     :r     If     :t,     Id    :-    j-  :- 


34 


THIBD  STEP. 


The  Scale.  After  the  tones  drnfsltd'  have  been 
sung  in  successive  order,  the  teacher  mil  explain  that  this 
series  of  tones  is  called  the  Scale.  Each  tone  of  the  scale 
differs  from  the  others  in  pitch.  By  "pitch"  is  meant  the  high- 
ness or  lowness  of  tones.  It  may  be  observed  that  the  eighth 
tone  above  or  below  any  given  tone  has  the  same  mental  effect 
and  the  same  name.  The  two  tones  are  so  nearly  alike  in  char- 
acter that  the  ear  accepts  them  as  relatively  the  same  notwith- 
standing the  difference  of  pitch.  They  are  BepUcates  or  Octaves 
one  of  the  other.  The  word  octave  sometimes  means  a  set  of 
eight  tones,  sometimes  the  eighth  tone  and  sometimes  the  differ- 
ence of  pitch  or  distance  between  the  two  tones.  The  teacher 
will  question  the  class  thoroughly  in  regard  to  the  scale — 
"Which  is  the  third  tone?"  Me.  "The  fifth  tone?"  Sob. 
"The  second  tone?"  Bay — and  so  on.;  also  questions  in  regard 
to  the  mental  effects  and  hand-signs.  He  will  explain  that 
d  n  and  s  are  readily  distinguished  as  the  strong,  bold  tones  of 
the  scale,  and  r  f  1  and  t  as  the  leaning  tones,  t  and  f  ttave  the 
strongest  leaning  or  leading  tendency,  t  leading  upward  to  d 
and  T  leading  downward  to  m.  The  most  important  tone  of  the 
scale,  the  strongest,  most  restful,  the  governing  tone,  is  called 
the  Key-tone.  A  key-tone  with  the  tones  related  to  it  or  belong- 
ing to  it  is  called  a  key.  A  distinction  is  made  between  "key" 
and  "scale  ".  A  Key  is  a  family  of  related  tones  consisting  of  a 
key-tone  with  six;  related  tones  and  their  replicates.  A  scale  is 
the  tones  of  a  key  arranged  in  successive  order  ascending  or 
descending.  The  intervals  of  the  scale,  large  and  small  steps,  &c., 
will  be  explained  in  the  Fourth  Step. 

The  Standard  Scale.  The  teacher  will  show  by  prao- 
,ical  examples  that  the  scale  may  be  sung  at  different  pitches. 
Any  conceivable  pitch  may  be  taken  as  the  key-tone,  and  the 
other  related  tones  will  readily  take  their  proper  places.  It  is 
necessary  to  have  one  particular  scale  of  pitch  as  a  standard 
from    which    all    the    others    are    to    be  reckoned.  This 


scale  is  called  The  Standard  Scale,  (commonly 
known  as  Natural  Scale).  The  particular  degree 
of  pitch  which  is  taken  as  the  key-tone  of  the 
Standard  Scale  is  named  C,  iJoj/  is  D,  Jlfe  is  E,  Fah 
is  F  and  so  on  as  shown  in  the  diagram.  These 
pitch-names  (letters)  of  the  Standard  Scale  should 
be  thoroughly  committed  to  memory.  The  correct 
pitch  of  this  scale  may  be  obtained  from  a  piano 
or  organ,  or  any  of  the  common  musical  instru- 
ments properly  tuned,  or,  for  ordinary  vocal  pur- 
poses from  a  C '  tuning-fork.  It  is  a  great  advantage 
to  have  one  tone  in  absolute  pitch  fixed  on  the 
memory  and  it  is  more  easy  to  do  this  than  is  com- 
monly supposed.  The  teacher  will  frequently  ask 
the  pupils  to  sing  C  (which  in  a  man's  voice  is 
really  C)  and  then  tests  them  with  the  tuning-fork. 
In  this  way  the  power  of  recollection  is  soon  de- 
veloped. In  estimating  the  chances  of  certainty, 
however,  we  should  always  bear  in  mind  that  any 
bodily  or  mental  depression  has  a  tendency  to  flat- 
ten even  our  recollectioiL  Any  pitch  of  the  Stand- 
ard Scale  may  be  taken  as  a  key-tone.  A  scale  or 
key  is  named  from  the  letter  taken  as  the  key-tone. 
The  different  keys  are  indicated  in  the  notation  by 
the  signatures  "Key  C,"  "JKey  G"  and  so  on. 

To  pitch  tunes.  Up  to  this  point  the  teach- 
er has  fixed  the  pitch  of  the  key-tone.  The  pupils 
themselves  should  now  learn  to  do  it  in  turn.  The 
pupil  strikes  the  C  tuning-fork  and  taking  the 
tone  it  gives,  sings  down  the  scale  to  the  tone  he 
wants.  This  tone  he  swells  out,  and  then  repeats 
it  to  the  syllable  doh,  and  perhaps  sings  the  scale 
or  chord  of  DOH  to  confirm  the  key.  Further 
instructions  on  pitching  tunes  in  the  Fourth  Step. 


d'— 0' 


1— A 


B— G 


f— F 
n— E 


r— D 


d— 0 


Ex.  132.    KEY  G. 


d  :d  |f  : 

Come  now,  let 


Bound  in  three  parts. 

* 

r  :s  I  ni  :—  j d  :d 

merry      be,  |  Fill  our 


111  :d 

souls  with 


t,  :t,  Id  : 

mirth  and  glee. 


d  :d   |f|  :f, 

Hearts  and  voi-oes 


8) 
all 


8.  Id 

a  -  gree. 


Ex.133.    KEY  C.    Bound  in  four  parts. 


:s     |di  :di 

If     I  hap  -  pi 


ness 


has 


I  not      her  seat. 


* 

:d' 

And 


1 

cen 


:1 

tre 


:t 

the 


di    :  — 

ibreast. 


:i 
w« 


f  :f 

may  be 


If 

wise 


:f 

or 


tn 

rich 


:s 

or 


|di  :s 

great,  But 


1 

nev 


:f 


can 


be 


d 

blest 


Ex.  134.    KEY  G.    Bound  for  three  parts. 

:s   Is     : —   :n    11     : —   :s     Is     : —   :f  ]r 

What  I  you've  to      |  do  get     |  done  to  -  I  day ! 


* 

And 


PI 

do 


:d  If 

not    I  for 


to  -S 


:d  :t, 


d     :  — 

stay ! 


:d  Id 

There's  I  al 


:d 

ways 


f| 

dan 


:d 

ger 


8| 
in 


:S|    I  d 

de    -  I  lay  I 


THmD  STEP. 


Ex.  135.   KEY  D.   Bound  in  two  parts. 


d 

Now 


:r 

we 


I  1^ 

say 


fare  - 


S 

well. 


:  PI 

Our 


f  :8 

pleas  -  ant 


11  :t 

work  is 


d< 

done; 


U. 

:s 

Good 


\  I  bye,  then, 


:s      |t|      :r     |s  :s 

good     I  bye     then,     All       un  - 


:s 

to 


If  :r 

mor  -  row's 


d 

sun. 


II 


Ex  136.    KEY  F.    Round  in  three  parts. 

s   : —  :1    I s  :—  : n  Is  : —  :1  |s 

With       the    Spring  -  time  |  comes     the  rob 


:n  Is  :f  :in  |r  :n  :f   In  :- 

in    I  Singing   his   cheerful    re  -  |  frain. 


II 


PI  :— :f    I  rn  : — :d  In  :— :f   |n  : 

Sing         a  -   way         you  |  hap    -    py  bird 


:d   In  :r  :d  |t,  :d  :r   Id  :- 

ling,  I  Bring  us  the  Spring-time  a  -  j  gain. 


II 


d  :  — 

Hark! 


Id  :- 

hark! 


Id  :  — 

bark! 


Id  : 

hark! 


S|  :8|  :8|  |S|  :S|  :si 

Hear  the  mel  -  o  -  di  -  ous 


d  :  — 

strain. 


Ex.  137.    KEY  D.    Round  in  two  parts, 

(Id  :r    :n  If   :—  :s   |1    :—  :t 

{  I  Who  sows  good 'seed         in    I  fruit    -  ful 


d'  :■ 

loam, 


-  :s 

Shall 


d'  ;t  :d'  11 

bear       with  j  joy 


—  :8   if  ijn  :r  id  :- 

the  I  bar   -     yest  |  home. 


Ex.  138.    KEY  C.    Round  in  two  parts. 

f  :-.f|n 

peace         a  -|  gain. 


d'     :-.d'lt  :d' 

While        we  |  meet  in 


* 

d 

Sing 


.dlf 

with|  joy 


:  n 

the 


t  :-.t|di 

grate    -     ful  |  strain. 


Ex.  139.    KEY  D.    Round  in  three  parts. 

s        :t        Id'       :d'  .d'  It  .1 

I  Hark!      bow        I  pleas   -  ant,   the  |  merry 


:s  .f   I  n  .r  :d 

chiming  |  of    the  bells, 


S 

Sweet 


:s 


s        :  n 

peal    -  ing. 


Ex.  140.    KEY  D,    Round  in  two  parts. 


n 

If 


:  n 

the 


f  :n 

weath-  er 


In  :n 

keeps  so 


f     :m    |n    :n    If     :n    |d    :r  In 

storm  -  y        and     the    I  rain    comes  down  like    |  that. 


T.  F.  S 

* 

s  :s 

I  shaU 


T 

I  neT 


:s 

er 


IS 
haye 


:s 

the 


1 

priy 


:b 

I 


is 

lege 


:s 

of 


1 

wear 


:s 

ing 


in 

my 


'.S 

new 


di 

hat 


36 


THIKD  HTTiTP. 


Ex.  141.    xirz  C. 

1  :8 

sweet  to 
plow  -  man 

f  :r 


T.  F. 


I  n  :s 

me  the 
drives  his 

Id  :pi 


1  :s 

gen  -  tie 
shin  -  ing 

f  :n 


I  PI  :s 

spring,  "When 
share 

Id 


A 

:  m 


1 

earth 
cross 
f 


:1 

is 
the 

:f 


It  :t 

robed  in 
mel  -  low 

|r  :r 


di  :- 

flowers, 
lea, 

m  :- 


:di 

And 
And 

:  n 


t 

:1 

Is 

:di 

t 

:1 

1  s 

:1 

s 

:  rn 

If 

:s 

n  : 

bean 

-  ti  - 

ful 

the 

sum  - 

mer 

time. 

With 

aU 

its 

leaf 

-  y 

bowers. 

lays 

the 

fur 

rows 

broad 

and 

fair. 

As 

waves 

np  ■ 

on 

the 

sea. 

S 

:f 

|m 

:m 

S 

:f 

1  (*) 

:f 

m 

:d 

|r 

:  m 

d  : 

Ex.  142.   KEX  G. 


T.  F.  S. 


n  :  — 

:  m 

s  :  — 

:n 

d  :  — 

:d 

PI  :  — 

:d 

li 

:—  :d 

f  :  — 

8|  :d 

:pi 

r  :  — 

All 

that 

now 

SO 

ap  - 

pears, 

While 

earth's  dark 

shad  - 

ows 

Him 

the 

d  :  — 

:d 

PI  :  — 

:d 

Pii  :  — 

:pi, 

S|  :  — 

:pi, 

fl 

1,  :- 

:fi 

Pii  :S| 

:d 

ti  :- 

PI  :  — 

:  PI 

s  :  — 

:  PI 

a    :  — 

:d 

PI  :  — 

:d 

1| 

:—  :d 

f   :  — 

8|  :  PI 

:  r 

A  . 

0.  :  — 

All 

our 

doubts 

and 

all 

our 

fears 

Will 

be 

made 

clear 

in 

heav  - 

en's 

Ught. 

d  :  — 

:d 

PI  :  — 

:d 

PI,  :  — 

:ni 

8,  :  — 

:pIi 

fl 

:-  :1, 

li  :- 

:fi 

pii  :S| 

:fi 

m,  :—  : 

Ex.  143. 

KEY 

El2. 

T.  F.  s. 

s  :  — 

n  :f 

:s 

1    :  — 

1  :- 

d' 

:t  :1 

|di  :t 

:1 

8   :  — 

PI  :  — 

Far 

out  in 

the 

wild 

-  wood. 

Beauti  -  ful 

flowers 

are 

grow 

PI  :  — 

Id  :r 

:  n 

f    :  — 

If  :- 

1 

:s  :f 

1  :8 

:f 

PI  :  — 

d  :- 

PI  : 

If  : 

s  : 

11  : 

8 

:1  :s 

f  :8 

:f 

PI  :  — 

:- 

PI  :- 

Sweet 

the 

gift 

kind 

Na 

-  ture  is 

ev  -  er 

be- 

stow  - 

mg. 

d  : 

|r  .: 

m  : 

If  : 

PI 

:f  :m  | 

r  :  PI 

:r 

d  :  — 

d  :  — 

Ex  144. 

KEY  C- 

BEAUTIFUL  MONTH  OP  MAY. 

T.  F.  S 

s  :s 

:s  1 

s   :  — 

:s 

pi'  :  — 

:- 

r' 

:r'  :r'  | 

ml  :  — 

:r' 

d'  :  — 

Beanti  - 

ful  month 

of 

May, 

bean-ti  -  ful 

month 

of 

May, 

PI  :n 

:m  1 

n  :  — 

:  PI 

8    :  — 

:- 

f 

:f   :f  i 

8   :  — 

:f 

PI  :  — 

:-! 

Fim 


D.  C 


:di 

t  :  — 

:1   Is  :- 

:1 

8   :  — 

:f 

In  :- 

:di 

t  : 

—  :1 

Is  :- 

:1 

8   :  — 

:f 

1  n  : 

'Tis 

then 

the  flow'rs 

be- 

gin 

to 

bloom, 

And 

bios 

-  Boms 

shed 

a 

sweet 

per 

-  fume. 

Oh! 

how 

I  love 

thy 

skies 

BO 

blue. 

Thy 

m  - 

ies 

and 

thy 

vio    -  - 

lets 

too. 

With 

joy 

thy  glad 

re  - 

turn 

we 

greet. 

No 

oth 

-  er 

month 

is 

half 

as 

sweet. 

:  m 

s  :  — 

:f  In  :  — 

:f 

n  :  — 

:r 

Id  :- 

:  n 

8  : 

—  :f 

In  :- 

:f 

n  :  — 

:r 

'd  :— : 

Da  Capo^  abbreviated  D.  0.  means  repeat  from  the  beginning,  ending  at  the  word  FUSE. 


THIRD  STEP. 


Ex.  145.  KEY  C. 

n   .  n  :  n  .f 

1.  In   the  ear  -  ly 

2.  Sun-ny  lit  -  tie 

d    .d  :d  .r 


s  :d< 

Spring   -  time, 

bios      -  som 

m  :  m 


THE  DAISY. 

n    .PI    :  n  .f 

When  the  vio  -  lets 
On     their  slen  -  der 

d    .d    :d  .r 


grow 
Btali, 


T.  F.  Sewabd. 

S     .8     :s  .8 

When  the  birds  sing 
How   much  they  wonld 

PI    .PI    :  PI  .PI 


1    .d'    :t  .1 

8 

:pi 

r 

8      .  S 

:t 

t 

r 

:s 

sweet- ly     And  the 

soft 

winds 

blow; 

Comes  the   Ut  - 

tie 

dai 

sy 

teach  us     If  they 

could 

but 

talk; 

Ev   -  er 

look  - 

ing 

up 

ward 

f    .1     :s  .f 

PI 

:d 

t, 

t,  .t, 

:r 

r 

f 

:f 

8  .8    :di  .d' 

n' 

n'  .PI 

'  :di 

d' 

1  . 

di 

:t  .1 

8 

:t 

d' 

Blooming  fresh  and 

fair, 

Springing  bright  and 

joy- 

ous 

from  its 

moun  - 

tain 

lair. 

All   the   live  -  long 

day, 

Bright  their  fa  - 

ces 

tum 

to 

catch  each 

sun 

beam's 

ray. 

PI  .  PI  :  PI  .PI 

S 

8  .8 

:  m 

n 

f  . 

1 

:s  .f 

n 

:f 

n 

HOPE  ON,  AND  HOPE  EVER. 


Ex.  146.   KBS  E. 


:d 

PI 

:d 

:  PI 

s 

:  n 

:8 

1  :1 

:t 

d'     :  — 

:s 

d' 

:t 

:1 

1.  Hope 

on, 

and 

hope 

ev  • 

er. 

our 

watch  -  word 

shall 

be, 

WhUe 

sail  - 

ing 

o'er 

2.  Hope 

on, 

and 

hope 

ev 

er, 

BO 

mat   -  ter 

what 

comes, 

While 

wand 

.'ring 

thro' 

3.  Hope 

on, 

and 

hope 

ev 

er, 

the 

heart's  se  - 

cret 

spring 

'Twill 

help 

us 

in 

:d 

PI 

:d 

:n 

8 

:pi 

:pi 

f  :f 

:f 

n     :  — 

:  PI 

PI 

:r 

:d 

8 

:f 

:pi 

n     :  — 

r 

• 

:r 

r 

:  PI 

:f 

f 

:pi 

:r 

life's 

troub 

•  led 

bil 

lows: 

We'U 

nev  • 

er 

de  - 

spair 

though 

the 

sor  - 

row's 

deep 

pla 

ces; 

The 

hour 

be 

fore 

day 

is 

the 

life's 

earn 

-  est 

du 

ty. 

Twill 

lift 

us 

from 

an  - 

guish 

and 

t, 

:r 

:d 

d      :  — 

t| 

:t, 

t, 

:d 

:r 

r 

:d 

:t, 

m 

:n 

:f 

s      :  — 

:s 

d' 

:t 

:1 

S 

:f 

:  PI 

1 

clouds 

may 

look 

dark. 

Or 

hang 

our 

bright 

harps 

on 

the 

wil 

dark  - 

est 

they 

say. 

Thus 

dark 

-  ness 

and 

night 

in  - 

ter  - 

la 

sor  - 

row 

and 

tears. 

To 

vis  - 

ions 

of 

grand 

-  eur 

and 

bean 

d 

:d 

:r 

m     :  — 

:pi 

PI 

:8 

:f 

m 

:r 

:d 

f 

t       :  — 

:t 

d' 

:t 

:1 

8 

:f 

:  n 

r       :  — 

PI      :  — 

lows. 

Or 

hang 

our 

bright 

harps 

on 

the 

wil 

lows. 

ces, 

Thus 

dark 

-  ness 

and 

night 

in 

ter  - 

la 

ces. 

ty 

To 

vis  - 

ions 

of 

grand 

-  eur 

and 

bean 

ty. 

r       :  — 

:f 

PI 

:r 

:d 

n 

:r 

:d 

t,  :- 

d      :  — 

38 


THIRD  STEP, 


8| 


Ex  147.   XBX  B|2. 

-  Id 
Id, 


:t, 


r     :—     Is  :f 

t|    :1|      |8|     :  — 


Ir  :d 
:nii    |r,  :- 


t, 

8,  :f, 


:  —      m     :  r 


:-  It, 
:m,     I  r. 


d  - 

d  :  — 
d,  :- 


Ex.  148.  KBT  F. 


THE  CRICKET. 


s 

:s 

8  :s 

m  .8 

:1  .8 

PI  .s 

:l_.s 

Chirp, 

chiip, 

ohirp,  chirp, 

Lit-tle 

cricket. 

fuU  of 

mirth, 

LiUle 

cricket, 

tell  me, 

pray. 

• 
• 

• 

• 

d  .  m 
d 

:f  .PI 

d  .  PI 
d 

:f  .PI 

Chirp, 

chirp. 

fn  .d  :1|  .8, 

Chirpiag  oa  the 
"Why  you  siag  both 

S|  .  PI,  :  f|  .  PI, 
d  : 

chirp. 


T.  F.  Sewaed. 

PI  .d  ;lt  .S| 

kitchen  hearth, 
night  and  day, 

3,  .PI,  ;f|  .pi| 
d        :  . 

ohirp^ 


PI  .8   :1  .8 

PI  .8    :1  . 

8 

PI  .d  :1|  .8, 

1,  .d 

:d 

PI  .  PI  :  PI 

.  PI 

R  .  PI 

;r  .d 

Whereso-e'er  be 

thine  a  -  bode. 

Al  -  ways  har  -  bin- 

ger  of 

good. 

Pay  me  for 

thy 

warm  re 

-  treat. 

Did  yon  know  we 

love  to  hear 

Chirping  forth  yoTir 

notes  of 

cheer. 

If     LLke  you 

we'd 

live  in 

Bong, 

d  .PI  :f  . n 

d  .n  :f  . 

PI 

8,  .  Pi|  :f|  .  pij 

f,  .f. 

:p1i 

S,   .8,  :S| 

.8, 

8,  .S| 

:f|  .Pii 

d  : 

d  : 

d  : 

d 

:d 

d  : 

d 

chirp. 

chirp. 

chirp. 

chirp. 

chirp. 

chirp. 

chirp. 

S    .8     :8  .8 

8  .8    :f  . 

m 

PI  .8   :1  .8 

PI  .  S 

:1  .8 

PI  .d  :1| 

.8, 

1,  .d 

:d 

With  a   Bong  more 

Boft  and  ffweet. 

In    re  -  tnm  thou 

shalt  re 

■  ceive 

Such  a  song 

ag 

I  can 

give. 

Work  and  sing  the 

whole  day  long. 

What  a    deal  of 

good  we'd  do 

In  the  world 

we're 

passing 

through 

PI  .  PI  :  m  .  n 

n  .  PI  :r  . 

d 

d  .  n  :f  .PI 

d  .  PI 

:f  .PI 

S|  .PI,  :f| 

.PI, 

f|  .f, 

:pi. 

d  : 

d  : 

d  : 

d 

d  : 

d 

:d 

chirp. 

chirp, 

chirp. 

chirp. 

chirp, 

chirp. 

chirp. 

WORK  WHILE  YOU  WORK. 


Ex,  149. 

KEY  F. 

T, 

F,  S, 

d 

:  n 

.d 

8 

• 
• 

f 

:  m 

.  PI 

r 

• 

d  .r 

:m 

.f 

1.  Work 

while 

you 

work, 

play 

while 

you 

play. 

That 

is 

the 

2.  One 

thing 

each 

time 

done 

ve  - 

ry 

well 

Makes 

a 

good 

d 

:d 

.d 

PI 

• 

r 

:d 

.d 

t, 

d  .t, 

:d 

.r 

B.C. ork 

while 

you 

work, 

play 

while 

you 

play. 

That 

is 

the 

d 

:d 

.d 

d 

• 

:d 

.d 

S| 

d 

:d 

.d 

THIRD  STEP. 


39 


FINE. 


s 

1 

:  g 

.f 

:  r 

d 

• 

X 

:r 

.r 

r 

:r 

.  m 

way 

to 

be 

cheer  - 

-  ful 

and 

gay; 

All 

that 

you 

do 

learn  to 

max 

- 

•  im, 

as 

ma  - 

•  -ny 

can 

tell; 

Mo  - 

-    ments  are 

worth  - 

-  less 

wh€ 

n  . 

f 

:  m 

.  r 

d 

:t, 

•t, 

d 

• 

t, 

:ti 

.tl 

tl 

:t, 

.  d 

way 

to 

be 

cheer  - 

-  ful 

and 

gay. 

d 

:d 

.d 

S| 

:S| 

.S| 

d 

S| 

:si 

•  Si 

Si 

:si 

.S| 

f 

:m  . 

n 

r 

PI 

:  n 

.  n 

s 

.  n 

d  .d 

:  m 

r 

D 

do 

with  yonr 

might, 

Things 

done 

by 

halves 

are 

nev  -  er 

done 

right; 

tri  - 

fled 

a  - 

way, 

Work 

if 

yon 

work. 

and 

play  if 

you 

play; 

r 

:d  . 

d 

tl 

d 

:d 

d 

m  :- 

.d 

S|  .S| 

:d 

t, 

S| 

:si  . 

s 

8| 

d 

:d 

.d 

d  :- 

.d 

n  .  m 

:d 

S| 

Ex.  150. 

KEY  B^. 

TELL  ME,  SPBING. 

J.  H. 

Tenney. 

m  .r 

:d  .1, 

S| 

nil 

:S| 

d  .r 

:  n 

d    .  m 

:r 

m 

.  r 

:d 

.li 

1.  Tell  me, 

Spring,  with 

balm 

-  y 

air, 

Vio  -  lets 

blue. 

sweet  and 

fair. 

Why  thy 

beau  ■ 

ties. 

2.  "Youth," the  gen-tle 

Spring  re 

-  plies, 

"Quickly 

fades. 

quick-ly 

flies, 

But 

thy 

joys 

a  - 

S|  .f| 

:ni  .f| 

nil  . 

d, 

:mi 

nil  .f| 

:si 

mi  .  d 

:t| 

S| 

.f| 

:n, 

.fl 

d,  .d, 

:d,  .d, 

d, 

d| 

:d, 

di  .d, 

:d| 

di  .d| 

:si 

d, 

.d| 

:d, 

.d, 

.nil 

:S| 

d  . 

m 

:r 

m 

d 

m,  .f| 

:si 

.d 

n 

.  r 

:d 

.  s> 

tk,'h  and 

rare, 

Bloom  to 

fade 

a 

way  ? 

Sum  -  mer 

with 

thy 

gen 

-  tie 

show 

-  ers. 

bvHS  the 

skies 

Nev 

-  er 

fade 

a 

way. 

Look  be  - 

yond 

this 

world  of 

Bor 

-  row. 

Pin  d| 

:mi 

nil  . 

S| 

:f,  . 

S| 

Plj 

d|  .Tl 

:ni| 

.  nil 

S| 

•fl 

rm, 

.nil 

d,  i, 

:d, 

d|  . 

d| 

:S|  . 

S| 

d, 

d|  .d| 

:d, 

•  d, 

d| 

.d, 

:d| 

.d, 

1|  .li   :li  .t| 

Ciolden  frnits  and 
Thou  shwit  seo  a 


f|    .f|     ?f,  .S| 

fl  .fl    :f.  .f. 


d  .1,    :1,  .s. 

blushing  flo's>'-  ers, 
bright  to  -  iQor-row, 

li  .f|  :f|  .mi 
fi  .f|   :d|  .d, 


m  .r   :d  .1| 

Autumn  chills  thy 
And  the  ros  -  es 


S|  .f|  :mi  .f| 
dj  . d|  :  dj  . d| 

Tuning  BxersiskJS. — See  page  17.    To  be  Solfa-ed,  la-ed  and  then  sung  very  softly  to  loo. 


S|   .mi  :  S|    .  S| 

greenwood  bowers, 
hope  will  bor-row, 

m; .  d|  :  mi  .  mi 
d|  .d|  :d|  .d| 


d  .  m  :r  .  m 

And  their  leaves  de- 
Bloom  but  ne'er  de  - 

S|  :f|  .S| 
d|  :S|  .Si 


d, 


cay. 
cay.' 

mi 
d, 


Sing  Ex.  VJ/  Srrst  as  written.  &econdtime.  Soprano  take  the  Tenor,  Tenor 
take  the  '>ntralto,  singing  i'  \nstead  d.  Contralto  take  the  Soprano. 
Third    ^e  Soprano  and  Con^AMo  change  parts,  Soprano  singing  d '  iu- 

£x.  151.    KEYS  C,  Etz  and  S- 


stead  of  d.  In  the  key  G  the  Tenor  and  Contralto  change  parts,  Con- 
tralto singing  1,  instead  of  1,  and  Base  will  take  f ,  instead  of  f. 

Ex.  152.    KEY  C.  Sing  only  as  written. 


d:— 

m 

:d 

f  :  — 

f  :- 

f 

:f 

m  :  — 

d 

n  :  d 

3 

f  :  — 

m  :r 

PI  :  — 

d  :  — 

m 

:d 

f  :  — 

d  — 

d 

:d 

d  :  — 

d 

m  :  d 

3 

r  : — 

d  .t, 

d  :- 

d  :  — 

m 

:d 

f  :  — 

1  :  — 

1 

1 

s  :  — 

d 

n  :  d 

S 

t  :  — 

d':s 

s  :  — 

d  :- 

n 

:d 

f  :  — 

f 

:f 

d  ;  — 

d 

PI  :  d 

S 

s  :  S| 

d  :- 

40 


THIRD  STEP. 


Ex.  153.    KEY  El2. 


Ex.  154.   KEY  F. 


d 

m 

:d 

s 

f  :  — 

'm 

:  r 

d  :  — 

d 

m 

:  d 

s 

r  :  — 

d 

.t, 

d 

d 

m 

:d 

ti  :  — 

d 

:t, 

d  :  — 

d 

m 

:  d 

Sl 

t,  :- 

d 

:s, 

S| 

d 

m 

:  d 

s 

r  :  — 

s 

:f 

n  :  — 

d 

m 

:  d 

s 

f  :  — 

m 

:  r 

n 

d 

n 

:d 

S| 

S| 

:S| 

d  :  — 

d 

PI 

:  d 

S| 

3| 

:S| 

d 

KEY  F.   M.  86. 


COMING  NIGHT. 


B.  C.  U. 


d  :d 

t, 

:t, 

li  :1. 

S|     :  — 

d 

d 

r 

:  n 

s 

:  n 

r      : — 

S|  :si 

1.  Slow-ly, 

2.  0,  the 

S| 

gent 
won 

:S| 

-  ly 

-  drous 

fi  :fi 

comes  the 
brow  of 

n,     :  — 

night, 
night. 

S| 

With 
Beau  - 

d 

its 
ti  - 

t, 

heav 
ful 

:d 

-  y 

with 

d 

e 

moon 

:d 

ban 
and 

t,  :- 

paU,  • 
star. 

m  :pi 

r 

:r 

d  :r 

m     :  — 

ni 

:  m 

S 

:  s 

S 

:s 

s      :  — 

d  :d 

:s, 

d     :  — 

d 

:d 

S| 

:d 

n 

:d 

s,     :  — 

PI 

:  m 

f 

:f 

s 

:di 

1      :  — 

1 

:s 

s 

:  m 

m 

:r 

d 

d 

:d 

ti 

:t, 

d 

:d 

d      :  — 

d 

:d 

ti 

:d 

d 

:t, 

d 

But 

the 

ores  - 

cent 

BIS 

-  tNG 

OLEAE, 

Sheds 

a 

mel  - 

low 

light 

o'er 

all 

Send 

-  ing 

forth 

its 

sHi 

-  VKE 

lilGHT, 

O'er 

the 

dark 

-  'ning 

shades 

a  • 

far. 

S 

:s 

S 

:s 

S 

:s 

f      :  — 

f 

:s 

S 

:s 

S 

:f 

m 

d 

:d 

r 

:r 

m 

:  n 

f      :  — 

f 

:  m 

r 

:d 

S| 

:s, 

d 

KEY  EIZ. 

M.  76. 

s  :s 

11 

:1 

d  :d 

Id 

:d 

1.  Si  -  lent 

vale  ! 

where 

2.  Fare  ye 

well, 

ye 

m  :  PI 

If 

:f 

d  :d 

Id 

:d 

/=i 

Is 

:  PI 

d  :d 

Id 

:d 

WESTEEN  EVENING, 
LOVE  -  LY  MEADOWS, 


1  :f  I  PI  :s 
d   :d    Id  :d 


s     :  PI 

1  s     :  PI 

d  :d 

love  and 
loft  -  y 

Id  :d 

pleas  -  ur& 
shad  -  ows, 

pj  :s 

1  PI  :s 

d  :d 

Id  :d 

s  :s 

Id  :d 

d    :d    Id  :d 

Love  -  ly      as  the 
Fields  with  bright-est 

PI   :  PI 

1  PI    :  PI 

d  :d 

Hi  :1i 

SILENT  VALE. 

d  :d  |r  :r 
d    :d    |t|  :t| 

Ev  -  er  round  our 
Which  have  shield-ed 

1  :pi  |s  :s 
li    :1|    |s,  :S| 

PI  :r  |d  :  — 
d    :t,    Id    :  — 

sun  -  lit  cUmd, 
fhw'rs  he  spread; 

s  :f  In  :  — 
S|    :s,    |d    :  — 


m 

PI 

:s 

|r 

d 

:d 

It, 

cot 

-  tage 

flow'd ; 

oft 

our 

head; 

S 

:s 

Is 

d 

:  n 

Is 

f    :f  |1 

:1 

d    :d  Id 

:d 

Peaceful  as 

the 

Melds  where  oft 

the 

1     :1  If 

:f 

f    :f  If 

:f 

B.  C.  U. 


s 

:s 

H 

:1 

d 

:d 

Id 

:d 

Beauteous 

as 

the 

Still 

be 

green  ye 

n 

:  PI 

If 

:f 

d 

:d 

Id 

:d 

PI 

:  PI 

Is 

d 

:d 

Id 

ves  • 

per 

beU, 

ves 

per 

song. 

S 

:s 

In 

d 

:d 

Id 

T  H I  kT>  STEP. 


fl     *  m 

O          •  1*1 

1  s 
1 

1  m  •  

1  "  • 

D          •  1*1 

1  <! 
1  S 

0 
0 

d  :d 

Id 

:d 

d  :t, 

Id  :- 

d  :d 

Id 

:d 

d    :  — 

It,  :- 

d 

Thee  we 

bid 

a 

long  fare 

-  well. 

Thee  we 

bid 

a 

long 

fare   -  - 

well. 

Swelled  in 

ech 

-  oes 

sweet  and 

long, 

Thee  we 

bid 

a 

long 

fare   -  - 

well. 

m  :s 

|m 

:d 

n  :s 

Is  :- 

m  :s 

In 

:s 

PI    :  — 

|r 

m 

d  :d 

Id 

:d 

1,  :si 

Id  :- 

d  :d 

Id 

:d 

s,    :  — 

Is,  :- 

d 

SONG  OP  THE  AUTUMN. 

KEY  C .    M.  76.  Words  and  Music  by  Fbank  Fobest,  by  per. 


d'  :di 

:di 

It 

:t 

:t 

1  :1 

:1 

|s  :s 

:s 

f 

:f  :f 

1  PI  :  PI 

:  PI 

r  : — 

n  :  n 

:  PI 

1  s 

:s 

:  s 

f  :f 

:f 

1  PI  :  PI 

:  PI 

r 

:r  :r 

Id  :d 

:d 

t,  :- 

• 

j          ■  „  , 

._ 

1.  Beauti 

-  ful 

morning 

the 

au-tumn    a  - 

doming 

Oc- 

to 

-  ber's  as 

pleasant 

as 

May; 

2.  Let  ns 

be 

straying, 

no 

time  for   de  - 

lay -ing, 

Oc- 

to 

-  ber's  as 

pleasant 

as 

May; 

s  :s 

:s 

I  S 

:s 

:s 

s  :1 

:t 

Id'  :di 

:d' 

S 

:s  :s 

1  s  :s 

:s 

s  : — 

; — 

;  

d  :d 

:d 

Id 

:d 

:d 

d  :d 

:d 

Id  :d 

:d 

t. 

:t,  :t, 

Id  :d 

:pi 

s  : — 

: — 

1-  :- 

: — 

r'  :r' 

:ri 

Id' 

:d' 

:d' 

t  :t 

:t 

jl  :1 

:1 

s 

:s  :s 

11  :1 

:1 

s   : — 

.  

Is  :1 

:t 

f  :f 

:f 

1  ^ 

:  PI 

:  PI 

r  :r 

:r 

1  PI  :  PI 

:pi 

r 

:r  :r 

|r  :r 

:r 

r   : — 

1  r  :  PI 

:f 

Long  tho'  the  shadows  Thrown 

out  on 

the 

meadows,  The 

for 

-  ests  are 

ro  -  sy 

and 

gay; 

Mer  -  ri 

-  ly 

Nuts  we 

will 

gath 

-  er 

To 

cheer  win-try 

weather; 

A  - 

way  to  the 

for  -  ests,  a  - 

way; 

Cheerful 

-  ly 

t  :t 

:t 

Id' 

:d' 

:d' 

r'  :r' 

:r' 

d'  :d' 

:d' 

t 

:t  :t 

Id'  :d' 

:d' 

t  :— 

: — 

It  :d' 

:r' 

s  :s 

:s 

1  s 

:s 

:s 

s  :s 

:s 

d  :d 

:d 

r 

:r  :r 

|r  :r 

:r 

s  : — 

: — 

If  :m 

:r 

d'  :d' 

:di 

It 

:t 

:t 

1  :1 

:1  1 

s  :s 

:s 

f 

:f  :f 

1  n  :  PI 

:  PI 

r  : — 

1-:- 

n  :  n 

:  PI 

1  s 

:  s 

:s 

f  :f 

:f  1 

PI  :  PI 

:  PI 

r 

:r  :r 

Id  :d 

:d 

t|  :- 

-:- 

birds  are 

now 

fill  - 

ing 

the 

air   with  their 

trilling, 

Let 

us 

be  as 

joy  -  ful 

as 

they; 

squirrels 

are 

chipping 

in 

time  with  our 

tripping, 

They 

of 

-  fer  to 

show  us 

the 

way; 

:d 

1  s 

:s 

:s 

s  :1 

:t  1 

d'  :d' 

:d' 

S 

:s  :s 

|s  :s 

:s 

s   : — 

:— 

-:- 

d  :d 

:d 

Id 

:d 

:d 

d  :d 

:d  1 

d  :d 

:d 

1| 

:t|  :d 

|r  :n 

:f 

s  : — 

r'  :ri 

:r' 

Id' 

:d' 

:d» 

t  :t 

:t 

1  :1 

:1 

S 

:1  :s 

If  :n 

:r 

d  :— 

1-:- 

• 

f  :f 

:f 

In 

:  n 

:m 

r  :  r 

:r 

n  :m 

:  PI 

r 

:r  :r 

It,  :t| 

:t| 

d  :— 

1-:- 

• 

Fling  a  - 

way 

sor  - 

row, 

Ne'er 

grieve  for  the 

morrow. 

Oc- 

to  ■ 

ber's  as 

pleasant 

as 

May. 

Fling  a  - 

way 

sor  - 

row, 

Ne'er 

grieve  for  the 

morrow, 

Oo- 

to  ■ 

ber's  as 

pleasant 

as 

May. 

t  :t 

:t 

Id' 

:d' 

:d' 

r'  :r' 

:r' 

d'  :d' 

:d' 

t 

:t  :t 

1  s  :s 

:f 

m  : — 

• 

1-:- 

s  :s 

:s 

s 

:s 

:s 

8  :& 

:s 

d  :d 

:d 

r 

:r  :r 

|s,  :s, 

:8, 

d  :— 

• 
• 

1-:- 

• 
• 

THIRD  STEP. 


KEY  F.    M.  76 

s  :s  |1 
d    :d  Id 


tn 
d 


:  m 
:d 


MOTHER,  CHILDHOOD,  FRIENDS  AND  HOME. 


C.  G.  AiiiiEN. 


:s 

d  :f 

|m  :- 

PI  :r 

If  :pi 

r 

:d 

|r  :- 

PI  :f 

1  s 

:d 

:d 

d  :d 

Id  :- 

d  :ti 

|r  :d 

t, 

:d 

It,  :- 

d  :r 

|m 

:d 

ery 

earth- ly 

tie, 

Mem'ries 

sweet  that 

can  - 

not 

die; 

Breathing 

still 

where 

may 

charm  a 

-  while, 

0th  -  er 

eyes  in 

beau 

-ty 

smile; 

Yet  we 

mur 

-  mnr 

:  m 

tn  :1 

Is  .— 

s  :s 

1  s  :s 

f 

:  PI 

Is  :- 

s  :s 

Is 

:  PI 

:d 

d  :d 

Id  :- 

Si  :si 

|S|  :S| 

S| 

:li 

Is,  :- 

d  :d 

id 

:d 

1  :1 

Is  :- 

d  : 

r 

In 

:s 

n    :r  | 

d 

r    :  PI 

If  :r 

PI 

:f     Is    :—  \ 

d  :d 

Id  :- 

d  : 

t. 

Id 

:d 

d    :t,  1 

d 

t|  :d 

|r  :t, 

d 

:d    Id   :  — 

e'er  we 

roam. 

Moth 

-er, 

child 

-  hood. 

friends  and  home. 

Green  the   gar  -  den 

where  we    played,  I 

as  we 

roam, 

Moth 

-er, 

chHd 

-  hood, 

friends  and  home. 

AU      of     joy  we 

fond 

-  ly     prize,  f 

f  :f 

|Pi  :- 

PI  : 

S 

Is 

:  PI 

s    :f  1 

PI 

s  :s 

1  s  :s 

S 

:r     1  PI   : —  ] 

f,  :1, 

Id  :- 

li  : 

s. 

Id 

:d 

S|    :s,  1 

d 

s,  :s. 

Is,  :s, 

d 

:d     Id   :—  ' 

1  :s 

Is  :f 

f 

:  PI 

|r 

n  :f 

Is  :d 

1 

:1  |! 

3    : — 

d  :r    1  PI 

s 

PI  :r   Id  :  — 

d  :d 

r  :r 

r 

:d 

t. 

d  :r 

|m  :d 

d 

:d  1 

i  :  — 

d  :t|  Id 

d 

d  :t.  Id  :  — 

Dear  the  old   fa  - 

mil  -  iar 

shade, 

In  our  dreams  how 

oft 

they  come. 

Mother,  childhood. 

friends  and  home. 

Twin'd  with  all  onr 

fond-est 

ties. 

Sa  -  cred  stiU  where- 

e'er 

we  roam, 

Mother,  childhood. 

friends  and  home. 

f  :pi 

s  :s 

S 

:s 

S 

s  :s 

1  s   :  m 

f 

:f  1 

m  :  — 

PI  :s    1  s 

PI 

s  :f   1  PI  :  — 

d  :d 

t,  :t| 

t, 

:d 

S| 

d  :d 

Id  :d 

:li  1 

i  :  — 

1,  :si  Id 

d 

S|  :s,  |d  :  — 

THE 

WAYSIDE  WELL. 

KEY  C. 

B.  C. 

Unseld. 

s    .s    :  PI 

.  PI 

f 

.f 

:r 

r    .PI    :f  .s 

1 

:s 

8      .  S 

:n  .PI 

PI  .  PI  :d 

.d 

r 

.r 

:t, 

t|    .d    :r  .PI 

f 

:pi 

PI     .  PI 

:d  .d 

1.  Oh!  the  pret 

-  ty 

way 

-  side 

well. 

Wreath'd  a  -  bout  with 

ro    -  - 

•  ses. 

When  be  - 

gulled  with 

2.  Treads  the  dro 

-  ver 

on 

the 

sward, 

Comes  the   la  -  b'rer 

to 

thee, 

Free  as 

gen  -  tie  - 

3.  Fair  the  greet 

-ing 

face 

as  - 

cends, 

Like    a      na  -  lad 

daugh 

-  ter. 

When  the 

peas  -  ant 

d'  .d'  :8 

.S 

S 

.  S 

:s 

s    .s    :s  .d' 

d' 

:d' 

d'  .d' 

:s  .8 

d  .d  :d 

.d 

S| 

.S, 

:s, 

S|    .8,     :S|  .8, 

d 

:d 

d  .d 

:d  .d 

f  .f 

:r 

r  .8 

:t 

.  8 

1 

:s 

f  .f 

:r  .r 

PI  .f 

:8 

r  .r 

:t, 

t,  .t, 

:r 

.r 

r 

:r 

r  .r 

:t,  .t, 

d  .r 

:pi 

sooth-ing 

speU, 

Wea-ry 

foot 

re  - 

pos  - 

-  es; 

With  a 

wel  -  come 

fresh  and 

green 

man  or 

lord. 

From  his 

steed 

to 

woo 

thee; 

Thou  from 

parch-ing 

lip  dost 

earn. 

las  -  sie 

bends 

To  the 

trem 

-bling 

wa 

-  ter. 

When  she 

leans  up  - 

on  her 

pail. 

S  .8 

:8 

8  .8 

:s 

.8 

d> 

:t 

t  .t 

:s  .8 

8  .8 

:d' 

8,  .8, 

:s, 

S|  .8, 

:s. 

.t, 

r 

:s 

8     . 3 

:si  .Si 

d  .d 

:d 

THIED  STEP. 


1     1  ] 

1      .1       •  U     t  1 

1 

*  fl 

c 
o 

m     "T     •  G 

1  1    •  X        *  o 

1  <? 

'  m  f{ 

•  1*1       •  U. 

Tl* 
X 

•d 

f     f    -1  f 

f 

'  m 
•  II 

m  •  ni  •PI  • 

PI 

d  .  r    ;  PI 

f  .  PI 

:d  . d 

:d 

Wave  thy  bor  -  der 

grass  ■ 

es, 

By    the  dust- 

y 

trav'-ler  seen, 

Sighing 

as  he 

pass 

es. 

Jfauy  a  murmured 

bless  - 

iBg, 

And  en  -  joy  - 

est 

in     thy  turn, 

In  -  no 

-  cent  ca  - 

ress 

-  ing- 

Glanc-ing  o'er  the 

mead 

-  ow, 

Sweet  shall  fall 

the 

whispered  tale, 

Soft  the 

doub-le 

shad 

ow. 

d'  .di  :di  .d' 

di 

:d' 

s  .s    :d'  . 

di 

s  . s  :s 

S  .S 

:s  .PI 

f 

:n 

f  .f  :f  .f 

d 

:d 

d  .d   :d  . 

d 

d  .d  :d 

S,  .S| 

:s,  .S| 

:d 

KEY  G.       M.  90. 


MUSIC  EVERYWHERE. 


Chestee  G.  AiiLEN,  by  per. 


d  .d 

:t| 

.1 

1 

8| 

:d 

r 

r 

d  . 

ti 

d 

:  — 

d 

.d 

:t, 

.1| 

Pit  .  ni| 

:si 

.1 

*l 

Pl| 

:si 

li 

.1| 

Sl  . 

S| 

S| 

pii 

.pii 

:s, 

.fi 

1.  JVlu-sic 

in 

the 

spring 

time. 

Wak 

-ing 

up 

the 

flowers; 

Mu 

-  sic 

in 

blie 

2.  IVIu-sic 

in 

the 

rain 

drops. 

FaU  - 

ing 

111 

the 

night; 

Mu 

-  sic 

in 

bUo 

d  .d 

:d 

.d 

d 

:  PI 

f  . 

f 

PI  . 

r 

PI 

d 

.d 

:a 

J 

•  a 

d  .d 

:d 

.d 

d 

:d 

fl  . 

fl 

Sl  . 

Sl 

di 

d 

.d 

:d 

.d 

Sl 

:d 

r 

.  r 

:d 

.t, 

d 

r 

.  PI 

:r 

.d 

t, 

:d 

PI, 

:si 

li 

.1| 

:S| 

.S| 

Sl 

tl 

.d 

:t, 

.1) 

Sl 

:S| 

green 

trees, 

Mu 

-  sic 

in 

the 

bowers; 

Mu 

-  sic 

in 

the 

cot 

tag< 

young 

birds, 

When  the 

day 

is 

bright; 

Mu 

-  sic 

in 

the 

crick 

et, 

d 

:  PI 

f 

.f 

:  PI 

.r 

PI 

S 

.  S 

:s 

.  r 

r 

:pi 

d 

:d 

fl 

•fl 

:si 

.s, 

d, 

Sl 

.S| 

:S| 

.S| 

S| 

:s, 

r  .  PI 

:f  . 

PI 

r 

d  . 

d 

:t, 

.ll 

8| 

:d 

r 

.r 

:d  . 

t. 

d 

• 

t,  .d 

:r  . 

d 

ti 

S|  . 

S| 

:si 

.f| 

PI, 

:S| 

ll 

.ll 

:si  . 

Sl 

Sl 

• 

Mu  -  sic 

in 

the 

lea, 

Mu- 

sic 

in 

the 

south 

wind. 

Mu  -  sic 

o'er 

the 

sea. 

Chirping  loud  and 

clear, 

Mu- 

sic 

in 

the 

spring  time, 

Mil -sic 

all  the 

year. 

S  .S 

.  S  . 

S 

S 

Pl  . 

PI 

.d 

.d 

d 

:  PI 

f 

.f 

:  PI  . 

r 

PI 

• 
• 

S,  .S| 

.S|  . 

S| 

S| 

d  . 

d 

.d 

•  d 

d 

:cl 

I 

fl 

.fl 

:S|  . 

Sl 

d, 

• 

KEY  C.      M.  100  beating  twice. 


SKATING  GLEE. 


A.  S.  KlEFFEB. 


s   : — 

:s  |s   :  — 

:s 

1   :  — 

:1 

11 

:1 

t   :  — 

:t  It  :1 

:t 

d'  :  — 

:-|s  :- 

PI  :  — 

:m  1  PI  : — 

:  n 

f  :  — 

:f 

If   :  — 

:f 

f  :  — 

:f  If   :  — 

:f 

PI  :  — 

: —  1  n  : — 

come 

with  me, 

and 

we 

wiU 

go 

And 

try 

the  win 

ter's 

cold. 

sir; 

have 

oar  mer 

ry 

games 

in 

spring, 

Of 

ball 

and  oth    -  - 

er 

sorts, 

sir; 

sled 

and  Batch  - 

el 

off 

we 

start. 

The 

smok  - 

ing   bi'eak  - 

fast 

through, 

sir; 

when 

the  les   -  - 

sons 

all 

are 

done. 

0 

then 

we're  on 

the 

ice, 

sir; 

d'  :  — 

:d'  Id'  :  — 

:d' 

d'  :  — 

:d' 

Id'  :- 

:d' 

s  :  — 

:s  |s   :  — 

:s 

s   :  — 

:-ld'  :- 

d  :  — 

:d  Id  :  — 

:d 

f   :  — 

:f 

If  :- 

:f 

s  :  — 

:s  |s   :  — 

:s 

d  :  — 

:-|d  :- 

44 


THIBD  STEP, 


:& 

s    :  — 

:s 

Is  :- 

:s 

1    :  — 

:1 

1  :- 

:1 

t   :  — 

:t 

It  :1 

:t 

d'  :  — 

:  — 

Id'  :- 

:pi 

rn  :  — 

:  in 

in  :  — 

:  m 

f  :  — 

:f 

If  :- 

:f 

f  :  — 

:f 

If 

:f 

m  :  — 

:  — 

1  m  :  — 

It 

freez  - 

es 

now, 

and 

Boon 

wiU 

snow, 

But 

we 

are 

tough 

and 

bold. 

sir. 

But 

win 

ter, 

too, 

his 

share 

can 

bring 

Of 

old 

and 

cheer  - 

ful 

sports, 

sir. 

And 

aU 

the 

day, 

with 

book 

and 

chart, 

We 

have 

e  - 

nough 

to 

do. 

sir. 

And 

by 

the 

red    -  - 

ly 

sink 

ing 

sun, 

We're 

skat  - 

ing 

it 

so 

nice, 

sir. 

:d 

d'  :  — 

:di 

Id'  :- 

:di 

di  :  — 

:d' 

Id'  :- 

:di 

s   :  — 

:s 

Is  :- 

:s 

s    :  — 

Is  :- 

:d 

d  :  — 

:d 

d  :- 

:d 

f   :  — 

:f 

If  :- 

:f 

s   :  — 

:s 

Is  :- 

:s 

d  :  — 

Id  :- 

1st  time. 

D.  S. 

2d  time. 

d' :— :— 

|fn':— : 

1  :- 

:-|di :-: 

t  :— 

:t 

t  :1 

:t 

di  :—  :— 

s  :-: 

Come,  

m  : — : — 

Is  :-: 

f  :— 

:-|f  :-: 

f  :— 

:f 

f  :— 

:f 

m  : — : — 

m:-: 

in:-:-|- :- 

Come, 

come, 

come. 

come. 

come. 

Oh, 

come 

with 

me. 

sir. 

me. 

s  : — : — 

d' :-: 

d'  :— 

s  : — 

:s 

r'  :— 

:ri 

d' 

d'  :-: 

d  :— :— 

d  :— : 

f  :— 

s  : — 

:s 

s  :- 

:s 

d  :—  :— 

d  :— : 

LO!  THE  GLAD  MAY  MORN. 


KEY  D. 

M.  120. 

From  the  Gbbiian. 

Brightly. 

:f  .PI 

:d  .  n 

S 

:s 

Is 

:1  .s 

s  .f  :f  .Pi|f  .f  :s  .f 

PI 

:  PI 

Is 

r     :  — 

1—  :d.pi 

:d  .d 

m 

:  PI 

Im 

:f  .PI 

n.r  :r  .d  |r.r  :pi.r 

d 

:d 

1  ^ 

:r  .d 

t,  :- 

1—  :d.d 

^l.Lo!  th» 

glad 

May- 

Mom, 

With  her 

rosy  light  i8breaking,0'erthe 

hiUs 

so 

love 

-  ly  and 

fair; 

Amd  the 

2.i  »>i  the 

rus  - 

tic 

wild, 

When  the 

i-dle  winds  are  blowing.  We  will 

roam 

with 

pleas 

-  ure  to- 

day; 

On  the 

3.0h,th» 

glad 

May 

mom, 

Like  a 

child  she  comes  to  meetns,  With  her 

brow 

all 

cov  - 

er'd  with 

flow'rs; 

And  she 

:!n.s 

di 

:d' 

Id' 

:di.di 

d'.s  :s  .8  |s  .s  :s  .s 

8 

:d' 

id' 

:s  .s 

8     : — 

1 —  :pi.s 

:d.d 

d 

:d 

Id 

:d  .d 

S|.S|:8|  . S|  1  8|.8|  :S|  .S\ 

d 

:d 

Id 

:d  .d 

8,     :  — 

1—  :d.d^ 

s 

:s 

Is      :1  .s 

8  .f  :f  .PI  If  .f  rs  .f 

rn 

:  PI 

Is 

:f 

.  PI 

r      : — 

1- 

n 

:  PI 

1  PI      :f  .  PI 

pi.r  :r.d  |r.r  :pi.r 

d 

:d 

|Pi 

:r 

.d 

ti  :- 

pure 

young 

buds.  From  their 

dewy    sleep  a-waking,  Mirth  and 

mu  - 

sic 

float 

in 

the 

air. 

mos  - 

sy 

bank,  Where  the 

crystal  brook  is  flowing,  We  will 

crown 

our 

queen 

of 

the 

May. 

calls 

the 

birds,  All  the 

merry  birds  to  greet  us.  And  the 

laugh 

■  ing. 

bright 

summer 

hours. 

d' 

:d' 

Id'  :d'.d' 

d'.s  :s.s  js.s  :8.8 

8 

:d' 

Id' 

:s 

.8 

s        :  — 

1- 

d 

:d 

id  :d.d 

S| . S|  :S| . S|  1  8| . 8|  :8|  .  S| 

d 

:d 

Id 

:d 

.d 

S|  :— 

1- 

do. 

d'     :  — 

d  .PI 

s  .s  :s  .8 

8  :d'.t 

1  .1  :1  . 

1 

11 

:r'.d' 

t 

:s 

Is 

:1  .t 

d  .d 

PI .  PI :  PI .  m 

PI     :pi  .s 

f .f  :f  . 

f 

If 

:f  .f 

f 

:pi 

If 

:f 

n     : — 

Then  a- 

way,  a-way,  a  - 

way.    Then  a- 

way,  a-way. 

a  - 

way. 

And  a  - 

May 

-  ing 

we 

will 

go. 

Pl  .8 

d'.d':d'.d' 

d'  :d'.d' 

d'.d'.d'. 

d' 

Id' 

:1  .1 

8 

:s 

It 

:d'.r' 

d'  :— 

d  .d 

d  .d  :d  .d 

d      :d  .  PI 

f  .f  .f  . 

f 

If 

:f  .f 

s 

:8 

|8, 

:8| 

d  :— 

THIKD  STEP. 


45 


MERBILY  THE  CUCKOO. 


KEY  D.      M.  80. 

Ohzstbs  G.  AiiLrai. 

S  ,S  .S  ,S 

:s 

.  m 

d' 

.1 

:s 

r 

.  PI 

:f 

.1 

8 

:  PI 

n  ,n .  PI  ,pi 

:pi 

.d 

m 

.f 

:m 

t, 

.d 

:r 

.f 

PI 

:d 

1.  Merri-ly  the  cuck 

-  00 

in 

the 

vale 

To 

the 

mom 

is 

sing 

- 

-  ing, 

2.  Pleasantly  the  sun 

with 

gold 

-  en 

Ught 

Wakes  the 

earth 

to 

glad 

- 

-  nesB, 

di,di.di,d' 

:d> 

.S 

S 

.d' 

:d' 

S 

.8 

:s 

.t 

d' 

:8 

d  ,d.d,d 

:d 

.d 

d 

.d 

:d 

S| 

.8, 

:si 

.S| 

d 

S     $1      S  S 

;  S 

.  n 

d' 

.1 

:s 

.d' 

t 

a 
•  o 

:1 

.t 

8 

:s  .8 

PI  ,pi .  PI  ,pi 

!  PI 

.d 

PI 

.f 

:  PI 

.  n 

r 

4. 
.t| 

:d 

.r 

t| 

•t.  +■ 

Cheeri  -ly  the 

ech  ■ 

o's 

fair 

-  y 

tale 

By 

sil  - 

ver 

fount 

is 

ring 

-  ing.      A  - 

Happi  -  ly  we 

roam 

till 

dew  - 

y 

night 

With  - 

out 

a 

thought  of 

sad 

- 

-  ness.     A  - 

di,di.di,di 

:d' 

.3 

S 

.d' 

:d' 

.8 

S 

.8 

:8 

.8 

8 

:s  .8 

d  .d  .d  .d 

:d 

.d 

d 

.d 

:d 

.d 

r 

.  r 

:r 

.r 

S| 

*  a .  a. 
.S|  .S| 

I       .  Pi 

jr 

.1 

s 

.f 

:  PI 

.s 

z 

•  PI 

:r 

.1 

8 

f 

*  m 

•  I'l 

r  .d 

:t, 

.f 

PI 

.r 

:d 

.  PI 

r 

.d 

:t, 

.f 

PI 

.r 

:d 

■way,  a 

way. 

with 

foot  - 

steps 

free, 

We'U 

chase 

the 

shad  - 

0W8 

o'er 

the 

lea. 

way,  a 

way, 

with 

foot  - 

steps 

free, 

We'll 

chase 

the 

shad  - 

OWS 

o'er 

the 

lea. 

S       .  S 

:s 

.t 

d' 

.di 

:di 

.S 

S 

.8 

:s 

.t 

di 

dl 

•  u 

S|  .S| 

:S| 

.S| 

d 

.d 

:d 

.d 

S| 

.8, 

:si 

•S| 

d 

.d 

:d 

s  ,s  .s  ,s 

:s 

1  ,1 

.1  ,1 

:1 

1 

.r' 

:d' 

.t 

d' 

PI  ,P1 .  PI  ,P1 

:  m 

f  ,f 

.f  ,f 

:f 

f 

.f 

:  PI 

.r 

n 

Merri  -  ly  we 

go. 

Merri-ly  we 

go, 

None 

so 

gay 

as 

we. 

Merri  -  ly  we 

go- 

Merri-ly  we 

go, 

None 

so 

gay 

as 

we. 

d',d'.di,d' 

:d' 

d',di 

.  d'  ,di 

:d' 

1 

.1 

:s 

.8 

S 

d,d  .d  ,d 

:d 

f  ,f 

.f  ,f 

:f 

f 

•  r 

:s 

.S| 

d 

D  S. 


KEY  F.    Eound  for  three  parts. 


:  PI 

The 


{I 


Id 

bell 


:-  .r  I  PI  :pi 

doth  toU,  I 


d     :-  .r  I  PI  :f 

love         its   roll.  Its 


PI     :r      |d     :t|  Id 

song    I  know    full     I  well; 


PI    :-  .f  1 8  .8  :8  .8  j  PI     :-  .f  1 8  .8  :1  .1  I  s      :f      |  pi     :r      I  pi 

love         its   ringing  for  it  |  calls  to  singing.  With  its)  bim,     bim,     bim      borne  bell. 


d     :  — 

Bome, 


d 

Borne, 


S 

[  Bim, 


:8 

bim, 


bim, 


:8| 

bome 


d 

bell. 


:8 

I 


46 


THIRD  STEP. 


E 
o 


G' 

F' 

E' 

D' 

C 
B 

A 

G. 

F 
E 

D 


Clasaiflcation  of  Voices.  The  teacher 
may  now  proceed  to  a  more  definite  classifica- 
tion of  the  voices.  He  will  first  explain  the 
difference  of  pitch  between  the  voices  of  men 
and  the  voices  of  women.  This  may  be  done 
by  having  the  women  sing  the  scale  of  C  several 
fcunes  alone,  and  then  let  the  men  sing  it  alone. 
Most  of  the  men  will  think  they  sang  the  same 
tones  the  ladies  sang.  To  prove  they  did  not 
let  the  ladies  sing  d  (C)  and  sustain  it  while 
the  men  sing  from  their  d  up  to  d',  when  they 
reach  their  d'  they  will  be  in  exact  unison  with 
the  ladies.  It  will  thus  be  seen  that  the  voices 
of  men  are  naturally  an  octave  lower  than  the 
voices  of  women.  This  pitch  C,  which  was 
just  sung  in  unison,  and  which  stands  high 
in  a  man's  voice  and  low  in  a  woman's — is 
called  Middle  C.  It  is  about  the  middle  tone 
of  the  usual  vocal  compass  and  is  common  to 


Ex.  155.    KEY  C. 


C  Middle 
B. 

A, 

-G, 

FCC 
I  s 
E,  o 

D,  i 

C, 
B. 

A, 

G. 


nearly  all  musical  instruments.  The 
diagram  on  the  left  wiU  show  the  usual 
vocal  compass,  male  and  female.  The 
teacher  may  find  it  useful  to  draw  this 
diagram  on  the  black-board  and  have 
the  tones  sung  at  their  proper  pitch  to 
his  pointing.  Let  all  begin  at  Middle  0, 
the  voices  of  the  men  and  women  in 
exact  unison,  then  as  the  teacher  points 
sing  up  the  scale  together.  At  G  the 
men  will  stop,  many  of  them  will  have 
to  stop  before  reaching  that  tone,  the 
women  continue  up  to  G'.  Then  de- 
scending the  men  wiU  join  in  at  G 
(at  the  proper  pitch)  and  together  de- 
scend to  G,,  at  this  tone  the  women  will 
stop,  the  men  continuing  down  to  G,. 
Returning  upwards,  the  women  will 
join  in  at  G,,  and  so  on. 


Ladies. 


d 

:d 

d 

:d 

d 

:d 

d 

:d 

Now 

our 

voic 

es 

aU 

u     -  - 

nit  - 

-  ed. 

Gentlemen. 

di 

:d' 

d' 

:d' 

d' 

:di 

di 

:d' 

n 

:ni 

s 

:s 

d' 

:d' 

t 

Let 

ns 

see 

why 

they 

a    -  - 

gree. 

di 

:di 

t 

:t 

1 

:1 

S 

t 

:t 

d' 

:d' 

S 

:s 

PI 

:  n 

'Tis 

be   -  - 

cause 

when 

first 

we 

start  - 

ed, 

S 

:s 

d 

:d 

m 

:  PI 

S 

:s 

f 

:f 

ni 

:r 

d 

:d 

d 

We 

were 

sing  - 

ing 

Mid 

.  die 

c. 

f 

:s 

1 

:t 

d' 

:d' 

di 

:  1 


The  teacher  may  next  examine  the  women's 
voices  and  classify  them  into  high  voices — 
called  Soprano — and  low  voices,  called  Con- 
tralto. The  high  voices  of  men  are  called 
Tenor — the  low  voices  of  men  are  called  Base. 
Each  voice  should  be  examined  individually. 
To  examine  the  women's  voices  the  teacher 
gives  G  (first  G  above  middle  C)  as  a  key-tone 
and  requires  the  pupil  to  sing  the  scale,  first 
upward  as  high  as  she  can  go,  and  then  down- 
ward as  low  as  she  can  go.  If  the  fuller,  more 
beautiful,  and  more  easily  produced  tones  of 
her  voice  lie  above  G  it  may  be  classed  as  a 


high  voice.  If  the  best  tones  lie  below 
G,  then  it  may  be  called  a  low  voice. 
The  men's  voices  may  be  examined  in 
the  same  way  by  taking  G,  (first  G, 
below  middle  C),  as  a  key-tone.  It 
is  the  quality  of  the  voice,  not  the  com- 
pass, that  decides  the  question.  Cul- 
tivation may  afterwards  make  a  differ- 
ence, but  this  simple  mode  of  classi- 
fication will  answer  for  the  present 
purpose.  The  diagram  on  the  right 
shows  the  iisual  easy  compass  of  the 
different  voices. 


G' 

F' 
E' 

D* 

— C' 
B 


C/7 


A 

G — i 

F 
E 


D 

-C- 

B. 

A, 
L_G, 

F, 
E, 

D, 

C,- 
B, 

A. 

G, 


'I'H  I  kT>  STEP. 


47 


Octave  Marks.  The  pitch  of  the  key-tone 
of  any  key  is  always  taken  from  the  unmarked 
octave  of  the  Standard  Scale,  and  this  doh,  what- 
ever pitch  it  may  be,  with  the  six  tones  above  it  are 
without  octave  marks.  For  instance,  for  the  key 
G,  the  unmarked  G  of  the  Standard  Scale  is  taken 
as  doh,  this  doh  with  the  six  tones  above,  r  m  f  s  1 1, 
are  without  octave  mark;  the  scale  below  would 
have  the  the  lower  octave  mark.  This  may  be 
illustrated  by  the  following  diagram.  To  save  the 
unnecessary  multiplicity  of  octave  marks  both 


in  writing  and  printing,  the  Tenor  and  Base  parts  are  always 
written  an  octave  higher  than  they  are  sung.  In  quoting 
octave  marks,  as  in  dictation,  the  upper  octave  marks  are 
distinguished  by  naming  them  before  the  note,  the  lower  by 
naming  them  after — thus,  C  is  "one-C",  d'  is  "one-doh", 
G,  is  ••G-one",  a,  is  "soh-one".  It  will  help  the  memory  to 
notice  that  the  higher  comes  first.  Thus,  we  say  that  the 
easy  Base  compass  is,  as  above,  "from  G-two  to  C",  that  of 
Contralto  "from  the  G-one  to  one-C",  that  of  the  Tenor  "from 
C-one  to  unmarked  F",  that  of  the  Soprano  "^rom  unmarked  C 
to  one-F". 


Ex.  156.     KEY  C. 

Soprano. 


d    :  — 

Id 

:d 

d     :  — 

Id  , 

:d 

n 

:  rn 

Is 

:s 

d'    ;  — 

1-  :8 

CONTEALTO. 

d    :  — 

Id 

:d 

d     :  — 

Id 

:d 

PI 

:  m 

Is 

:s 

n    :  — 

1-  :m 

Once 
Tenob. 

d'    :  — 

more 

Id' 

u  - 

:d' 

nit    -    -  - 

d'    :  — 

ed, 

Id' 

And 

:di 

then 

d' 

ifi 

:di 

four 

Is 

parts 

:s 

sing; 

s      :  — 

The 

1-  :d' 

Base. 

di    :  — 

Id' 

:d' 

d'    :  — 

Id' 

:d' 

:d' 

1  s 

:s 

d    :  — 

1-  :d 

1  :1 

11 

:1 

s     :  — 

Id' 

:d' 

t 

:t 

It 

:t 

d'    :  — 

1-  :- 

f  :f 

If 

:f 

m     :  — 

1  PI 

:  m 

r 

:r 

|r 

:r 

n    :  — 

1-  :- 

meas  -  ure 

gent 

-  ly 

flow 

ing- 

The 

pleas 

-  ant 

tones 

will 

ring. 

d'  :d' 

Id' 

:d' 

d'    :  — 

Is 

:s 

S 

:s 

1  s 

:s 

s     :  — 

1-  :- 

f  :f 

If 

:f 

d     :  — 

Id 

:d 

S 

:  s 

Is 

:s 

d    :  — 

KEY  B|2. 

s,  :1|  .1| 
.m,  :f|  .f| 

\l.  Thy  home  is 
f2.  Dear  Com -fort - 
)3.  Who  made  this 

.d   :d  .d 

^d|  :di  .d| 


ROBBINS.    L.  M. 


Dabtus  E.  Jones. 


8| 

:-    .d    :d  .d 

d 

:r 

in  .r 

:d 

:m 

n. 

:-    .n,  :f|  .f. 

m. 

:si 

S,  .S| 

:S| 

:s, 

w  ith 

the  hum-ble. 

Lord, 

The 

sim  -  plest 

and 

the 

er. 

e   -   ter  -  nal 

Love, 

If 

thou  wilt 

stay 

with 

beat 

ing    heart  of 

mine, 

Bat 

thou,  my 

heaven 

-  ly 

d 

:-    .S|   :1|  .1, 

S| 

• 

:t, 

d  .t, 

:d 

:d 

d, 

:-   .d|   :d|  .d| 

d, 

d  .S| 

:d, 

r 

:-  .S|  :1|  .1| 

s,  :- 

.d 

:d  .d 

d  :- 

.PI  : d  .  1| 

S| 

:s, 

8|  :-. 

S| 

:-  .n,  :f|  .f. 

Pii  :- 

.pi| 

:fi  .fi 

PI,  :- 

.S|  :si  .f| 

pii 

:ri 

:f| 

n,  :-. 

best, 

Thy  lodging 

is 

in 

child-like 

hearts. 

Thou  makest 

there 

thy 

rest. 

me, 

Of  low-ly 

thoughts 

and 

sim  -  pie 

ways, 

ru   build  a 

house 

for 

thee. 

guest, 

Let  no  one 

have 

it 

then  but 

thee. 

And  let  it 

be 

thy 

rest. 

t, 

:-  .d  :d  .d 

d  :- 

.S, 

:1,  .1, 

s,  :- 

.d  :d  .d 

d 

:t, 

:r 

d  :-. 

8| 

:-  .d|  :d|  .d| 

d,  :- 

.d, 

:d,  .d, 

d,  :- 

.d|  :p1|  .f| 

Si 

:8, 

d,  :-. 

i8 


THIRD  STEP. 


m  !  - 
d  .— 

Sweet 

d  :r 

Stee  -  plb 

d    :  — 

S-weet 


CHRISTMAS  SONG. 


'8  :  — 
In  :- 

the 

|n  :f 

bells  with 


f    :-  Is 


r    :  — 

fill  - 

s  :1 

ChristmM  rhym 

r    :-  I- 

tiearts 


jr 

ing 
It 


d' 

ing 


f  :  — 
r    :  — 

chim  - 

s  :1 

joy  -  ful 

r    :  — 

bells 


r 

all 

t 

on 

S| 

mak 


1 

the 


|s  :- 
|r  :- 

ing. 

It  :d' 

ehim  -  ing, 


IS 

It, 

the 

Is 

si  ■ 


f 

lent 


r 

still 
t 


;1 


stee  -  pie 


chim 


d 

air. 

n 

air. 

d 

ing. 


s  :  — 
ti  :- 

the 

s  :f 

clocks  with 


n  :  — 
d    :  — 

tim  - 

n  :r 

care  -  ful 

d    :  — 


S 

Chil 

r 

ChU- 
t 


L.  M.  (JoEDON,  by  per. 


Id  :- 
Id  :- 

ing, 

Id  :t, 

tim  -  ing, 


-    -  dren 

r  jf 

dren's  voic  - 
I  rl 


-  IS 
Chil   -    -  dren 


s 

d 

:  — 

In 

:  — 

Glad 

ness 

d 

:  r 

1  m 

:f 

Ush 

■  ep 

in 

the 

d 

1- 

Glad 

S 

sing 

|s 

ing, 

Fl 

:f 

Is 

:  n 

car  - 

ols 

sing 

-ing, 

di 

:r' 

1  m' 

:d' 

d 

Id 

sing  - 


s  : 

Is 

s    :  — 

Is 

An 

gels 

wing  - 

ing. 

r  :r 

If  :f 

m  :f 

Is 

:  m 

An  -  gel  bands  thro' 

heaven 

win 

?ing, 

t  :t 

|r'  :r' 

di  :r' 

|P1' 

:d' 

s  : 

Is  :- 

d  :- 

id 

An 

gels 

wing  - 

mg, 

KBT  D. 

:n 

:-  Id 

:n 

s  : 

:d 

d 

:—  Id 

:d 

m  : 

1.  Enp 

work   -   -  inf 

y,  'tis 

wis 

'2.m 

eyes  ev 

-  er 

0 

3.  In 

life's          ros  -  y 

mom 

:s 

S 

:-  In 

:s 

d'  : 

:d 

d 

:-  Id 

:d 

d  : 

PI  : —  I  s   :  — 

Ti   -   -  dings 

d  : —  I  m  :  — 

To    the  earth  good 

d  :r  I  PI  :f 
d  :  r   I  PI  :  f 


f   :-|s  :- 

bring   -  ing, 

r   : —  I  r   :  — 

ti  -  dings  bringing, 

s   :1    It  :di 
s   :1    It   :di  t 


NEVER  SAY  PAIL. 


PI 

d 


:s 
:  PI 


-  pen,  a 
ing,  in 

[s  :di 
d  :d 


1  :d'  It  :1 
f    ;1     Is  :f 

-   -  ting  a 


sit  - 
tongue 
man  - 

d'  :- 
f  :- 


that's  not 
hood's  fair 

|di  :di 
If  :f 


r    :  PI  I  f  :s 

Joy  and  glad-ness 

r    : PI  I f  :s 

Peace  and  glad-ness 

t    :1    is  :f 
:1   Is  :f 


s  :- 
PI  :- 

side, 

dumb, 

pride, 

d'  :- 
d  :- 


1-  :pi 

And 
A 

Let 

—  :d' 

—  :d 


1    :t   |di  :- 

ev  -  ery  -  where. 

1    :t    |di  :- 

ev  -  ery  -  where. 

PI  :r  |d  :- 
PI  :r  Id  :- 


ChESTEE  G.  AliLEN. 


1  :  — 
f    :  — 

dream  - 

heart 

this 

1  :  — 
f    :  — 


If  :1 
Id  :f 

ing,  and 
that  will 
be     your i 


11 
If 


:d' 
;f 


s 

:s 

s     :  — 

If 

:pi 

r    :  — 

1-  :d 

d  :pi 

Is 

:1 

s    :  — 

1  PI  :s 

m 

•  - 

Id 

:n 

r    : — 

Ir 

:d 

t,  :- 

i-  :d 

d    :  PI 

Is 

:1 

s     :  — 

1  PI  :s 

sigh 

ing 

and 

wait   -  - 

ing 

the 

tide; 

In 

life's 

earn 

-  est 

bat   -  - 

-  tie  those 

nev 

er 

to 

sor  - 

row 

sue  - 

cumb; 

You'll 

bat  - 

tie 

and 

con  - 

quer,  tho' 

mot 

to, 

your 

foot   -  - 

steps 

to 

guide; 

In 

storm 

and 

in 

sun  - 

shine,  what- 

d' 

Is 

:s 

s     :  — 

Is 

:s 

s     :  — 

1-  :d 

d    :  PI 

Is 

:1 

s     :  — 

1  PI  :s 

d 

Id 

:d 

ti  :- 

It, 

:d 

s,    :  — 

1-  :d 

d  :pi 

Is 

:1 

8    :  — 

1  PI  :s 

t 


THIKD  STEP. 


4? 


1   :s  1 

rn 

:d 

1        •  — 

_  1 
1 

:r 

1  I  .s 

1 

:-  1 

d'  :1 

o  * 
9  • 

  1 

—  1 

1 

:t 

A\    .   1  

1   :8  1 

n 

:d 

t,  :- 

-  1 

— 

:t, 

d  :- 

It,  :d 

d 

:-  1 

f  :f 

m  : 

-  1 

f 

:f 

m  :-|- 

on 

ly 

pre- 

vail. 

Who 

dai  - 

ly  ixiarcii 

on 

-   -   ward  and 

nev 

er  say 

fail 

thons  - 

ands  as  - 

sail. 

We'U 

on   -  - 

ward  and 

con 

-   -  quer,  and 

nev 

-  - 

er  say 

ML 

ey  - 

er 

as  - 

sail. 

Then 

nev   -  - 

er,  oh. 

nev 

-   -  er,  oh. 

nev 

er  say 

faU. 

1   :s  1 

n 

:m 

s  :— 

-  1 

:& 

s   :  — 

1  s  :s 

f 

:-  1 

1  :d' 

d'  : 

—  1 

r 

d    :—  1  — 

1   :s  1 

PI 

:d 

S|  :— 

-  1 

I 

:  Si 

d  :  — 

|r  :n 

f 

:-  1 

f  :f 

s  : 

S| 

d   :—  1  — 

1 

MORNING 

HYMN. 

KEY  C. 

T. 

r .  oEWABD. 

d 

m 

In 

:f 

s 

* 
• 

1  m  :s 

1  :— 

- 

:1 

d'  :— 

It 

:1 

s  :- 

-  1  s    :  n  \ 

d 

d 

Id 

:r 

rn 

Id  :m 

f  :- 

- 

:f 

1  :— 

Is 

:f 

PI  :- 

-  1 n   :d  J 

.Our 

Fa 

ther  we 

thank 

thee  for 

sleep, 

For 

qui 

et 

and 

com 

fort   and  ( 

.Our 

voic 

es 

would 

ut 

ter  thy 

praise. 

Our 

hearts 

would  o'er- 

flow 

with  thy  > 

.So 

long 

as 

thou 

deem 

est  it 

right. 

That 

here 

on 

the 

earth 

we  should  I 

m 

8 

Is 

:d' 

d" 

Is 

:d' 

d'  :- 

:di 

d'  :  — 

Id' 

:1 

d'  :- 

-  Id'  :s  ) 

d 

d 

Id 

:d 

d 

Id  :d 

f  :- 

- 

:f 

f    :  — 

If 

:f 

d  :- 

-  Id    :ni  / 

r    : — 

1- 

:d 

n    : — 

1  n 

:f 

s  rn 

If 

:s 

1     :  — 

1- 

:1 

s    : — 

Id' 

:ni 

t,  :- 

1- 

:d 

d    :  — 

Id 

:r 

m  :d 

|r 

:n 

f    :  — 

1- 

:f 

n   :  — 

In 

:s 

rest, 

We 

thank 

thee 

for 

lov 

ing 

to 

keep 

Thy 

chil 

dren 

from 

love. 

0 

teach 

us 

to 

walk 

in 

thy 

ways, 

And 

fit 

us 

to 

stay, 

We 

pray 

thee 

to 

guard 

us 

by 

night. 

And 

help 

us 

to 

s    :  — 

1- 

:n 

s    :  — 

1  s 

:d' 

d'  :— 

Id' 

:d' 

d'    :  — 

1- 

:d' 

d'   :  — 

Id' 

:s 

8 

1- 

:d 

d    :  — 

Id 

:d 

d  :— 

Id 

:d 

f  ',— 

1- 

:f 

s    : — 

Is 

:s 

r'  :— 

|d' 

:t 

d'    :  — 

:d' 

d'    :  — 

It 

:1 

d' 

|t 

:1 

8     : — 

In 

:f 

f  :— 

In 

:r 

m    : — 

rn 

1     :  — 

Is 

:f 

1     :  — 

Is 

:f 

n    :  — 

Id 

:r 

be   -  - 

ing 

dis- 

tressed. 

0 

how 

in 

their 

weak 

ness 

can 

crea 

tures  re  - 

meet 

thee 

a  - 

bove. 

The 

heart's 

pure 

af  - 

fection 

tion 

is 

aU 

we 

can 

serve 

thee 

by 

day. 

And 

when 

all 

the 

days 

of 

our 

earth 

life 

are 

s    : — 

Is 

:s 

s    :  — 

:d' 

d'    :  — 

Id' 

:d' 

d'    :  — 

Id' 

:d' 

s     :  — 

fs 

:d' 

8i    :  — 

Is, 

:si 

d    :  — 

:d 

f    :  — 

If 

:f 

f     :  — 

If 

:f 

d    :  — 

Id 

:d 

8    : — 

1-  :d' 

n'    :  — 

|r' 

:d' 

n'    :  — 

|r' 

:di 

t     :  — 

11 

:t 

d'    :  — 

1- 

rn    :  — 

1-  :m 

s     :  — 

If 

:  n 

s     :  — 

If 

:  m 

r     :  — 

Id 

:r 

PI    :  — 

1- 

pay 

Thy 

fath 

er 

ly 

kind 

ness 

by 

night 

and 

by 

day. 

give; 

In 

love's 

pure 

de  - 

vo 

tion 

0 

help 

us 

to 

live. 

past. 

Re  - 

ceive 

us 

in 

heav 

en 

to 

praise 

thee 

at 

last. 

d'    :  — 

1-  :di 

d'    :  — 

Is 

:s 

d'    :  — 

Is 

:s 

s     :  — 

1  s 

:s 

s     :  — 

d    :  — 

1—  :d 

d     :  — 

Id 

:d 

d     :  — 

Id 

:d 

s,    :  — 

Is, 

:si 

d    :  — 

60 


THIRD  STEP. 


EST  D. 

:d 

\1.  How 
(2.  A 
13.  With 


HOW  SWEET  TO  HEAE. 


T.  F.  Sewabd. 


PI    :  — 

:f 

Is     :  — 

1 

1  : 

:s 

d'    :  — 

:s 

1  s 

:f 

:m 

d    :  — 

:r 

|Pi  :- 

1  : 

:n 

n    : — 

in 

In 

:r 

:d 

sweet 

to 

hear, 

When 

ring 

ing 

clear, 

At 

eve 

or 

ear 

ly 

bove 

doth 

float 

The 

cue 

koo's 

note, 

O'er 

fields 

of 

wav 

ing 

flow 

era 

Bweet 

This 

gay 

re  - 

treat 

Kind 

na 

ture 

doth 

a  - 

• 

• 
• 

1  : 

:d 

m    :  — 

:f 

Is  :- 

:s 

s      :  — 

:d' 

Id' 

:s 

• 
• 

• 

1  : 

:d 

d    :  — 

:r 

In  :- 

:d 

d     :  — 

:d 

Id 

:d 

r  : 

t|  : 

mom, 

com, 

dom. 


:r 
:t, 

Borne 

But 

And 


S 

t, 

on 

sweet 
oft 


—  :1 


:r 

the 

er 

we 


It  :- 
Is  :- 

breeze 

still, 

come, 


Thro' 

O'er 
When 

:r 
:r 


rust 
vale 
la 
S 

t, 


ling  trees, 

and  hill 

bor's  done, 

:1  It 


:t 
:r 

The 

Ee 

To 

:s 


; —  :r 


s  :si 


t   :  — 

:t 

It  :1 

:t 

d'  :—  :  — 

1-  :- 

!-:- 

r  :  — 

:r 

|r  :d 

:r 

n  : —  :  — 

1-  :-  :n 

n  :  — 

:  n 

If  :- 

:f 

n  : 

mel 

low 

mel 

low 

horn, 

The 

mel 

low 

mel 

low 

hom. 

sounds 

the 

mel 

low 

horn, 

The 

mel 

low 

mel 

low 

hom. 

hear 

the 

mel 

low 

hom, 

The 

mel 

low 

mel 

low 

hom. 

s   :  — 

:s 

Is  : 

:'s 

s    : —  :  — 

1-  :-  :s 

di  :  — 

:d' 

11  :- 

:1 

s  : 

S|  :  — 

:si 

Is,  : 

:si 

d    :—  :  — 

1-  :-  :- 

1-:- 

KEY  A. 

,:8|  .S| 
:  ni  .  ni 

\1.  Ceme,  thon 
/2.  Bora  thy 
]3.  By  thiie 

':d  .d 
:d,  .d, 

:S|  .S; 

:s;  .ni 

From  our 
Bom  to 
By  thine 

:d  .d 
:  ni  .d| 


KINGDOM.  78. 


Wm.  Mason,  Mas.  Doo. 


ll 

.t, 

:d  .r 

n 

:d 

:1,  .d 

f 

.  n 

:r  .d 

d 

:t, 

fl 

.fi 

:si  .S| 

S| 

:si 

:f,  .S| 

fi 

.8, 

:1|  .fi 

S| 

long  - 

ex 

■  pect-ed 

Je  - 

-  BUS, 

Born  to 

set 

thy 

chil  -  dren 

free; 

peo 

pie 

to  de- 

liv - 

-  er. 

Bom  a 

child, 

and 

yet  a 

King; 

own 

6  - 

ter  -  nal 

Spir 

-  it, 

Rule  in 

aU 

our 

hearts  a  - 

lone; 

d 

.r 

:d  .t| 

d 

:d 

:d  .S| 

1| 

.d 

:f  .d 

n 

:r 

fi 

•  ri 

:ni  .S| 

d 

:ni 

:fi  .n, 

ri 

.n. 

:f,  .1, 

S| 

•  - 

li 

.t, 

:d  .r 

n 

:f 

:s  .f 

n 

.d 

:r  .t. 

d 

fi 

.f| 

:ni  .S| 

S| 

:li 

:S|  .1, 

S| 

•S| 

:S|  .f, 

n. 

sins 

and 

fears  re  - 

lease 

us, 

Let  us 

find 

our 

rest  in 

thee. 

reign 

in 

us  for- 

ev  - 

-  er. 

Now  thy 

gra  - 

cious  king-dom 

bring. 

aU  - 

suf  ■ 

fi  -  cient 

mer 

■  it. 

Baise  us 

to 

thy 

glo  -  rious 

throne. 

d 

.  r 

:d  .t| 

d 

:d 

:d  .d 

d 

.  n 

:f  .r 

n 

fl 

:li  .S| 

d 

:li 

:ni  .f 

S| 

.S| 

:S|  .s, 

d, 

THIRD  STEP. 


KEY  D.    M.  90,  beating  twice, 


MY  MOUNTAIN  HOME. 

Words  and  Music  by  Aidine  S.  KnanTEB, 


by  per. 


s     :  m 

:s 

|1  :- 

:s 

s    : —  :  — 

1  —  : —  :r  .  pi 

f 

:  PI 

:f 

1  :- 

:s 

m  :d 

:m 

If  :- 

:  PI 

PI    : —  :  — 

1-  :-  :t,.d 

r 

:d 

:r 

If  :- 

:  PI 

love 

my 

moun   -  - 

tain 

home, 

Where 

wild 

winds 

love 

to 

here 

the 

wild 

flow'rs 

sweet 

Spring 

up 

a   -  - 

round 

my 

sweet 

to 

wan 

der 

here 

By 

foun 

-  tains 

cool 

and 

moun  - 

-  tain 

home 

for 

me. 

Where 

wild 

winds 

wan   -  - 

der 

di    :  — 

:d' 

Idi  :- 

:di 

d'   :—  :  — 

1-  :-  :s 

S 

:s  1 

s     : — 

:s 

d    :  — 

:d 

Id  :- 

:d 

d    :—  :  — 

1-  :-  :s, 

S| 

:s,  1 

S|    :  — 

:si 

PI    : —   :  — 

1—    :—  :pi.f 

s 

: —  :8 

Id'    :  — 

:d'  .d' 

r'    :  — 

:d' 

:1 

d    :—    :  — 

1—   :—    :d  .r 

PI 

: —   :  PI 

IPi  :- 

:pi  .pi 

f     :  — 

:f 

If 

:f 

roam  ! 

Wliere  the 

cy 

-  press 

vine 

and  the 

whisp  - 

-  'ring 

pine 

A 

feet. 

And  the 

lau 

rel 

blows 

'mid  the 

-  press 

gloom 

Of 

clear. 

And 

talk 

of 

love 

where  the 

coo    -  - 

-  ing 

dove 

A 

free. 

With  my 

own 

true 

love 

who  will 

nev  - 

er 

rove. 

My 

1  —    : —    :s  .S 

d' 

:—  :d' 

Is  :- 

:s  .s 

1     :  — 

:1 

Id'  :- 

:d' 

d    :-    :  — 

1—    :—    :d  .d 

d 

:—  :d 

Id  :- 

:d  .d 

f     :  — 

:f 

If  :- 

:f 

s     :  — 

:pi 

Is  :f 

:r 

d    :—   :  — 

1-   :-  :s 

s 

:pi 

:s 

Id'  :- 

:t 

n    :  — 

:d 

It,  :- 

:t| 

|—  :—  :n 

PI 

:d 

:  PI 

IPi  :- 

:r 

dom 

each 

gran    -  - 

-  ite 

dome. 

I 

love 

my 

moun  - 

tain 

many 

a 

sweet 

re  - 

treat. 

lone 

may 

see 

and 

hear. 

moun  - 

-  tain 

home 

for 

me. 

I 

love 

my 

di    :  — 

:s 

Is  :- 

:f 

PI    : —    :  — 

:d' 

Is  :- 

:f 

s    :  — 

:s 

Is,  : 

:s| 

d     :—    :  — 

:d 

Id  :- 

:d 

home, .... 
moun  - 

PI  :  — 
d    :  — 


: —  I  PI     :  — 

tain  home, 

:s  Id'    :  — 

:d  Id     :  — 


I-    :-  :f 


:  PI 

1     :  — 

:s 

If  :- 

:  PI 

r     :  — 

1-  :- 

:d 

f     :  — 

:  PI 

Id  :- 

:d 

t,  :- 

1-  :- 

I 

love 

my 

moun  - 

-  tain 

home, 

I 

love 

my 

moun  - 

-  tain 

home. 

:  PI 

11  :- 

:s 

s  :t 

:r' 

Is 

:d 

Id  :- 

:d 

S|     :  — 

:si 

Is,  :- 

:r 

Whore 

:s 
:s, 


PI  :r 

:  PI 

1  s   :  — 

:s 

1    :  — 

:f 

Id'  :t 

:1 

s   :  — 

:  PI 

Is  :f 

:r 

d~t. 

:d 

1  PI  :  — 

:  PI 

f    :  — 

:f 

|1  :s 

:f 

PI  :  — 

:d 

It,  :- 

:t. 

d  :—  :—  1  — 

skies 

s   :  — 

are 

:  s 

blue. 

Id'  :  — 

and 

:d' 

hearts 

d'  :  — 

are 

:1 

true. 

If  :- 

I 

:1 

love 

d'  :  — 

my 

:s 

moun  - 

1  s    :  — 

tain 

:f 

home. 

PI  :-  :-  1- 

d  :  — 

:d 

Id  :  — 

:d 

f    :  — 

:f 

If 

:f 

s   :  — 

•s 

|si  :  — 

:si 

d  :-  :-  1- 

52 


I'UiKD  STEP. 


Second  Veree  and  Chorus  by  T.  W.  D. 
KEY  A.    M.  72. 

.d 


SUN  SHOWER. 


S|  ,f|  .nil  ,f|  :si 
ni|,ri  .d|  ,ri:ni    .  Hi 

1.  Sparkling  in  the  sunlight, 

2.  Clouds  are  flying  swiftly, 

d  ,d  .d  ,d  :d  .d 
d|  ,d|.d|  ,d|  :d|  .d| 


d  ,t|  .d  ,1|  :si 
li  ,1|  .1|  ,f|  :mi 

Dancing  on  the  hills. 
Sunlight  breaking  through, 

d,d  .d  ,d  :d 
fi,fi  .f|  ,fi  :di 


S|  ,S| .  S|  ,S|  :d  .  d 
mi,m|.ni|  ,ni:si  .S| 

Tapping  at  my  win  -  dow, 
Everything  is  shin  -  ing, 

d  ,d  .d  ,d  :d  .d 
d|,di  .d|  ,d|  :ni  .nii 


T.  W.  Denninoton,  by  par, 

r  ,r  .n  ,ni  :r 

Si  ,s  .S|  ,si  :si 

Singing  in  the  rills; 
As  with  morning  dew; 

t|  ,t|.d  ,d  :t| 
S|  ,S|.d  ,d  :S| 


s  ,f  .n  ,f  :s  .PI 

Si  ,S|  .S|  ,S|  :S|  .S| 

Comes  the  pleasant  sunshower 
Falling  on  the  moun  -  tain, 

rn,r  .d  ,r  :rn  .d 
d,d  .d  ,d  :d  .d 


d  ,d  .d  ,pi  :f 
pii,ni|.ni,S|  :1| 

Like  a  glad  surprise, 
In  the  fer-tile  vale, 

d  ,d  .d  ,d  :d 
d|  ,d|.d|  ,d|  :f| 


f  ,f  .f  ,f  :pi  .r 

li  ,1|  .li  ,li  :S|  .S| 

While  I  gaze  with  won-der 
Giving  joy  and  glad-ness. 

d,d  .d  ,d  :d  .f 

fi  ,f|  .f|  ,f|  :  S|     .  S| 


d  ,ti  .m  ,r  :d 
S|  ,S|  .S|  ,f|  :  ni 

At  the  changeful  skies. 
Comes  the  gentle  rain. 

n,r  .d  ,t|  :d 
S|,S|.S|  ,S|  :d| 


s      .n     :s  .m 

Pat    -  ter,       pat    -  ter, 

d  ,d  .d  ,d  :d  ,d  .d  ,d 

Patter,  patter,    patter,  patter, 

PI     .s      :m  .s 

Pat   -  ter,       pat    -  ter, 

d|  ,d|.d|  ,di      ,d|.d|  ,d| 

Patter,  patter,    patter,  patter. 


d     .1,  :d 

hear    the  rain, 

1|  ,1|  .1|  ,1|  :S| 

Listen  to  the  rain, 

f     .f  :ni 

hear   the  rain, 

fi  A  -fr  jfi  Jd| 

Listen  to  the  rain. 


S|«    .d  :n  .s 

Gen  -  tie  spring  has 

nii,n|.S|  ,S|  :S|  ,S|.Si  ,S| 

Patter,  patter,    patter,  patter, 

d     .m  :s  .m 

Gen  -  tie  spring  has 

di  ,d|.d|  ,d,  :d|  ,d|.d|  ,d| 

Patter,  patter,  patter,  patter. 


f      .PI  :r 

come    a    -   -  gaia; 

t|  ,t|  .d  ,d  :t| 

Spring  has  come  again; 

r     .d  :t, 

come   a   -   -  gain; 
S|  S|  .S|  ,S|  :S| 
Spring  has  come  again ; 


s      .rn      :s  .m 

Pat  -  ter,       pat    -  ter 

d  ,d  .d  ,d  :  d  ,d  .d  ,d 

Patter,  patter,  patter,  patter, 

m     .s      :m  .s 

Pat  -  ter,        pat    -  ter 

d|  ,d|.d|  ,d|  :d|  ,d|  .d|  ,d| 

Patter,  patter,  patter,  patter, 


d     .1,  :d 

soft      re    -  frain, 

li  ,1|  .1|  ,1|  :S|  . 

hear  the  soft  refrain, 

f     .f  :n 

soft     re   -  frain, 

f|  ,f|.fi  .fi  :d, 

hear  the  soft  refrain, 


S|     .d      :ni  .r 

Tap  -  ping       on  the 

ni|,ni|.S|  ,S|  :S|  ,S|  .1|  ,1| 

Tapping,  tapping,  tapping,  tapping 

d     .m      :s  .f 

Tap  -  ping       on  the 

d|  ,di-di  ,d|  :d|,d|.f|  ,f| 

Tapping,  tapping,  tapping,  tapping 


d     .t,  :d 

win  -  dow  pane, 
S|  ,S|  .S|  S|  :S| 

on  the  window  pane. 

ni     .r      :  m 

win  -  dow  pane, 
S|  ,S|  .S|  S|  :d| 

on  the  window  pane. 


II 
11 


KEY  D.    Round  for  two  parts. 

d    :n    Is    :s    l*d'    :d'   |t  : 

War  -  ble     for     us,    |  ech  -  o  sweet, 

f    :f    |m   :n    11     :1     |s  : 

Gen  -  tie      ech  -  o,      I  wake  from  sleep. 


KEY  G.   Round  for  four  parts. 


:8| 

For 


8  :s 

[  health  and 


* 

Is  :f 

strength  and 


n 

dai 


1  :1 

ech  -  o 

f  :f 

Gen  -  tie 


ly 


|s  : 

sweet, 

I  n   :  PI 

ech  -  o. 


I  n  :r 

food.  We 


f  :f 

Soft  -  ly 


d  :d 

praise  thy 


I  PI  :m 

now  our 


r    :r    |  d  : 

clear  and  deep. 


Id  :t, 

name,  0 


r  :r 

song  re 


Id 

peat. 


s     :s     I  PI 

clear  and  deep. 


d 

Lord. 


THIRD  STEP. 


63 


KEY  A. 

M.  72. 

:  m  .  rn 

n 

:d 

:d  .d 

d 

:si  .S| 

S| 

:mi 

:f,  .f, 

1.  Sleep  01, 

dear  - 

est. 

while  a  - 

round 

2.  To  the 

cham 

-  ber 

of  her 

dwell 

3.  And  the 

woo 

ing 

night  wind 

bears 

:d  .d 

d 

:si 

:li  .li 

S| 

:d,  .d, 

d, 

:d, 

:d,  .d, 

d, 

SERENADE. 


:P1| 

thee 
ing, 
them 

:d 
:d, 


:s|  .s, 
:nii  .f| 

All  is 
Where  my 
Far  a  - 

:d  .r 


1,        :-  .d   :t|  .1, 

S| 

:d 

:d  .PI 

chains            of     sleep  have 

bound 

thee. 

God  doth 

trees              in    love  -  tones 

tell  - 

ing. 

As  on 

dream      -      ing  fair  one 

hears 

them, 

Hears  and 

fi        :-  .1|   :s,  .f| 

Pl| 

:mi 

:mi  .S| 

d  .d  :d  .d  :d  .d 

d 

:si 

'WTiile  the  chains  of  sleep  have 

bound 

thee. 

Thro'  the  trees  in   love  -  tones 

teU  - 

ing. 
them, 

And   the  dream-ing  fair  one 

hears 

fi  .fi  :fi  .fi   :fi  .fi 

d, 

:d, 

S|  .S|  :S| 
S|  .S|  :S| 

wrapt  in  si 
love    in  slum 
way  o'er  dis 

PI  .  PI  :  m 
d|  .  Pi|  :  S|  .  s 

All  is  wrapt  in 
Where  my  love  in 


:S| 
:f| 

lence 
ber 
tant 

:r 

1  :si  .S| 


si  -  lence  deep; 
slumber  lies; 
Far  a  -  way  o'er  dis -tant  plain; 


s,  :  — 
nil      :  — 

deep; 

lies; 

plain; 

d  :  — 
d|  :- 


:si  .S| 
:  Pij .  Pij 

While  thel 
Thro'  the^ 
And  theV 


/ 

S 

con 

gold 

sweet 

t, 

r  .r 


-  .f   :n  .r 

stant  vig  -  ils 
en     lad  -  ders 
dreams  a  - 

:d  .S| 
:d  .t| 


-  ly 
:-  .t, 

:r  .r 


God  doth  con  -  stant  vig  -  ils 
As   on   gold  -  en     lad  -  ders 
Hears  and  sweet-ly  dreams  a  - 

S|  .S|  :S|  .S|   :S|  .S| 


PI 

keep. 

rise. 

gain. 

Si 

d 

keep. 

rise. 

gain. 

d, 


Dim. 

:pi  . m 

Con- stant  \ 
As  on 
Sweet  -  ly 


d        :  — 

:d 

d 

:d  . 

d 

:S| 

S| 

vig 

ils 

keep. 

Con  - 

stant 

vig 

ils 

keep 

lad 

ders 

rise. 

As 

on 

lad 

ders 

rise. 

dreams 

a    -  - 

gain. 

Sweet 

-ly 

dreams 

a    -  - 

gain. 

fi  .fi    :li  . 

1| 

:si  .f| 

P1| 

• 
• 

r,  .PI, 

:si 

.f| 

:n,  .r. 

PI, 

God  doth  con  - 

stant 

vig  -  ils 

keep. 

God  doth 

con  - 

stant 

vig  -  lis 

keep. 

As   on    gold  - 

en 

lad  -  ders 

rise. 

As  on 

gold  - 

en 

lad  -  ders 

rise. 

Hears  and  sweet 

-ly 

dreams  a  - 

gain. 

Hears  and 

sweet 

-ly 

dreams  a  - 

gain. 

1,  .1,    :d  . 

d 

:t,  .1, 

S| 

• 
• 

t,  .d 

:  PI 

.r 

:d  .t, 

d 

f,  .f,  :f, 

fi 

:f,  .f, 

d, 

S,  .S| 

:si 

:si  .s, 

d| 

EE7  AtZ. 

EVAN. 

:s. 

s,  .d 

:  PI 

:r 

d  .1,  :s. 

:s. 

:pi, 

1.  Lord, 

2.  A 

3.  0 

:d 

PI, .  PI,  :  s, 

I     be  -  lieve 
rest  where  all 
that  I  now 

d  .d  :d 

:f 

a 

our 
the 

:t, 

PI,  .f,  :ni, 

rest  re  -  mains 
souls  de- sire, 
rest  might  know, 

d  .d  :d 

:p1i 

To 
Is 
Be 

:d 

:d. 

d|.d, 

:d, 

:si 

li  .fi  :d, 

:d, 

m  .r 

:d 

:r 

PI 

.d  :1, 

:s. 

S,    .f,  tPlj 

rest  where  pure 
fear,  and  sins, 
Sav  -  iour,  now 

d  .t,  :d 

:si 

en 

and 

the 

:t, 

s,  .s,  :f, 

joy  -  ment  reigns, 
grief  ex  -  pire, 
pow'r  be  -  stow, 

d  .d  :d 

:r. 

And 
Cast 
And 

:t, 

di  .S| 

:li 

.Si 

d, 

.PI,  :f. 

:si 

I.  M.  •  Havebqal. 


s,  .d  : 

PI 

:d 

r 

:f 

pi,  .  PI,  : 

PI, 

:p1i 

S| 

:s, 

aU  thy 

peo 

pie 

known, 

A 

fixed  on 

things 

a 

bove. 

Where 

lieve  and  en 

ter 

in, 

Now, 

d  .d  : 

d 

:d 

tl 

:r 

d,.d,  : 

:li 

S| 

:si 

s,  .  d 

:  PI 

:r 

d 

PI,  .  pi( 

:si 

:f| 

m. 

thou  art 

loved 

a 

lone. 

out  by 

per 

feet 

love. 

let  me 

cease 

from 

sin. 

d  .d 

:d 

:t| 

d 

d,  .1, 

:si 

:s, 

d 

• 

64 


THIRD  STEP. 


CANON.   NOW  THE  EVENING  PALLS. 
Btz.    M.  104.    May  be  sung  in  two,  three  or  four  parts. 


Beethoven. 


n 

;  X 

|d 

:ti 

1 

:t|.  d 

r  :d 

1  tl 

:li 

Si 

:li.ti 

d  :ti 
•  "1 

ll 

Now 

the 

eve 

-  ning 

falls, 

The 

bird  of 

twi  - 

light 

calls 

Our 

foot  -  steps 

home. 

ll 

:s, 

|f| 

:rn, 

ri   :  — 

:ni|.f| 

S| 

:fi 

|.ni 

:ri 

d|  :- 

— 

:r|.pi| 

Now 

the 

eve 

-  ning 

falls. 

The 

bird 

of 

twi  - 

light 

calls. 

Our 

• 

: 

1 

: 

: 

: 

PI 

:r 

Id 

:t| 

ll  :- 

— 

:t,.d 

Now 

the 

eve  - 

ning 

falls. 

The 

• 

1 

• 
• 

: 

I 

li  :si 

fl 

:p1i 

Now  the 

eve 

-  ning 

"I 

r 

:d 

t| 

.  

1  — 

:d.r 

n  :r 

Id 

:t, 

1, 

:t|.d 

r  :d 

It, 

:1| 

No 

long 

-  er 

roam. 

For 

now  the 

eve  ■ 

ning 

faUs, 

The 

bird  of 

twi  ■ 

light 

fl 

rrn. 

Tl 

— 

Si 

:f| 

nil  :  — 

:fi.S| 

ll 

:si 

|fl 

tPIl 

ri    :  — 

— 

:n|.f| 

foot 

-  steps 

home, 

No 

long 

-  er 

roam, 

For 

now 

the 

eve  - 

ning 

faUs, 

The 

r 

:d 

t, 

:li 

Si 

< 

- 

:li  .t| 

d  :t| 

Hi 

— 

1 

1| 

r 

:d 

t|    :  — 

— 

:d  .r 

bird 

of 

twi  - 

light 

calls 

Our 

foot  -  steps 

home, 

No 

long 

-  er 

roam, 

For 

ri 

:  — 

:nii.f| 

Si 

:fi 

n. 

:ri 

d,  :- 

:r|.ni| 

fl 

Pl| 

ri 

—  :ri 

s. 

:fi 

falls, 

The 

bird 

of 

twi 

-  light 

calls 

Our 

foot  - 

steps 

home, 

No 

long 

-  er 

S| 

.  

:l|.ti 

d  : 

tl 

Hi 

—  :li 

1 

:d 

tl 

.  

:d.r 

PI  :r 

d 

:ti  , 

calls 

Our 

foot  - 

steps 

home, 

No 

long 

-  er 

roam 

For 

now  the 

eve  - 

ning 

S| 

:f| 

in. 

:ri 

d,  : 

- 

:r|.mi 

fi  :ini 

|ri 

|S| 

:fi 

pii  :  — 

:f|.S| 

bird 

of 

twi  - 

Ught 

calls 

Our 

foot  -  steps 

home, 

No 

long 

-  er 

roam. 

For 

PI 

:r 

d 

:t, 

ll 

1- 

:t|.d 

r  :d 

tl 

:li 

S| 

:li.t| 

d  :t| 

Hi 

now 

the 

eve 

-  ning 

falls. 

The 

bird  of 

twi  - 

light 

calls 

Our 

foot  -  steps 

home. 

m, 

:f|.S| 

ll 

S| 

fl 

:ni 

r,   :  — 

:nii.fi 

Si 

:f| 

1  mi 

:ri 

d|  :- 

:r|.Pi| 

roam, 

For 

now 

the 

eve 

-  ning 

falls. 

The 

bird 

of 

twi  - 

light 

calls 

Our 

ll 

1—  :t|.d 

r 

:d 

It, 

:1, 

Si    :  — 

:l|.t| 

d 

:t, 

Hi  :- 

:1| 

falls. 

The 

bird 

of 

twi  - 

light 

calls 

Our 

foot- 

steps 

home. 

No 

1, 

:s, 

fi  :mi 

ri 

1- 

:pi|.fi 

Si  :f. 

1  nil 

:r. 

d, 

1—  :r|.pi| 

fl 

:p1i 

now 

the 

:li 

eve  -'ning 

r  :d 

falls, 
t| 

1- 

The 

:d.r 

bird  of 

PI  :r 

twi  - 

Id 

light 

:t. 

calls 
1, 

Our 

1—  :t|.d 

foot- 

r 

steps 

:d 

No 

long  -  er 

roam 

For 

now  the 

eve  - 

ning 

falls. 

The 

bird 

of 

fl 

foot  - 

:pii 

steps 

r,    :  — 

home. 

No 

|s, 

long 

:f| 

-  er 

PI,  :  — 

roam, 

:f,.S| 

For 

ll 

now 

:si 

the 

1  f|    :  "1 

eve  -  ning 

ri 

faUs, 

r  :d 

long  -  er 

ri    :  — 

home, 

t,  :1| 

twi  -  light 

—  :Pi|.f|/ 

The 


tl 

i- 

:d  .r 

n 

:r 

Id 

:t, 

ll 

:1| 

Hi 

:t| 

d     :  — 

1- 

roam. 

For 

now 

the 

eve  - 

ning 

falls. 

No 

long  - 

er 

roam. 

|S| 

:fi 

PI, 

1- 

:fi  .S, 

ll 

:si 

Iff 

PI,    : — 

1- 

No 

long 

-  er 

roam. 

No 

long 

-  er 

roam. 

Si 

1- 

:l|.t. 

d 

:t. 

Hi 

:li" 

Hi 

:s, 

S|     :  — 

1-  :- 

calls 

Our 

foot  - 

steps 

home. 

No 

long  - 

er 

roam, 

S| 

:fi 

1  Hi 

d. 

1- 

:r,  .PI, 

fl 

:pi. 

|r, 

:si 

d,  :- 

1-  :- 

bird 

of 

twi 

-  light 

calls, 

No 

long 

-  er  

roam. 

THIRD  STEP. 


5& 


KEY  At 

S|  :- 

.s,  :si 

.d 

n 

nil     :  — 
1 1|  • 

.  nil  :S| 

.S| 

Si 

1.  God, 

who  madest 

earth 

2.  Guard 

US  when  we 

sleep 

d  :- 

.d  :d 

.  m 

d 

d,  :- 

.d|  :n 

•  di 

S| 

S|  :- 

.s,  :S| 

.d 

m 

nil  :- 

.ni  :S| 

.S| 

Who 

the  day  for 

toil 

Wilt 

thou  then  in 

mer 

d 

.d  :d 

.m 

d 

d|  :- 

.d|  :mi 

.d| 

r  : 

-  .r 

:n 

.r 

Si  : 

-  -S) 

:si 

1 

an 

-  gel  guard 

do- 

last 

dread  call 

shall 

t|  :- 

-  .t| 

d 

.t| 

8)  :■ 

-  .S| 

S| 

.S| 

r  :■ 

-  .r 

:d 

.r 

s,  :- 

-  .S| 

'S| 

•S| 

dreams 

and   hopes  at  - 

reign 

in 

glo  - 

ti  :- 

-  .t| 

d 

■t, 

S|  :- 

-  .f| 

:p1i  . 

EVENING  PRAYER. 


J.  H.  TZNNBT. 


KEY  D.    Eound  in  three  parts. 


:r. 

d      :—     :  — 

d 

:t| 

:li 

S|      : —  : 

:f| 

m,     :—     :  — 

li 

:si 

:fi 

m,     :—  : 

and 

heaven, 

Dark 

-  ness 

and 

light, 

or 

wake, 

And 

when 

we 

die, 

:t| 

d      :—     :  — 

d 

:d 

:d 

d     :—  : 

:s, 

d,  :- 

:f| 

:fi 

d,     :-  : 

:r 

d      :—  :— 

r 

:d 

:t, 

d      :  — 

:fi 

nil     :—  :— 

li 

:si 

:fi 

pii  :— 

haa 

given. 

For 

rest 

the 

night. 

cy 

take 

Oui 

souls 

on 

high; 

:t| 

d     :—  :— 

f 

:n 

:r 

d      :  — 

:s, 

:s, 

:si 

d,  :- 

:t,  .d 

:si  .S| 

May  thine  ( 
When  the 

:r  .d 

;—     :si  .m. 


I 
1 


d'  :t 

Hark!  the 

m  :s 

Night  is 


d 

One, 


1 


If  :in 

come,  our 

Id  :- 

Two, 


r 

:d 

:d  .r 

PI 

.n 

:f  .n 

n 

:r 

:r 

.r 

f. 

•  nil 

Si 

.S| 

:s,  .S| 

c, 

•  Si 

Si 

fend 

us, 

Slumber 

sweet 

thy 

mercy 

send 

US, 

Ho 

■  ly 

wake 

us. 

Do  not 

thou. 

our 

Lord,  for- 

sake 

us. 

But 

to 

d 

:d 

:d  .d 

d 

.d 

:r  .d 

d 

:t| 

:t, 

.tl 

:d| 

:d,  .d, 

d 

.d 

:t,  .d 

S| 

:si 

:si 

.S| 

rn 

:d 

• 

li 

:si 

:S| 

S| 

•  KM 

S| 

:li 

fi 

:si 

:fi 

plI 

tend 

us 

This 

live 

long 

night. 

take 

us 

With 

thee 

on 

high. 

d 

:d 

d 

:d 

d 

d, 

:f| 

fi 

:nii 

d, 

1 

:t 

Id'     :s  1 

:s 

11 

.■■i  1 

d' 

:1 

Is  :■ 

beU 

re  - 

minds  us, 

That 

an  - 

oth 

hour 

is 

fled; 

f 

:f 

1  n     :  n 

PI 

:m 

If 

:f  1 

1. 

:f 

1  m  :- 

work 

is 

end  -  ed, 

Friends,  good 

night,  'tis 

time 

for 

bed. 

d 

Id     :-  1 

d 

Id 

=-  1 

d 

Id  :- 

Three, 

Four,  1 

Five, 

Six, 

Seven, 

Etght. 

56 


THIRD  STEP. 


HURRAH  I  FOB  THE  MERRY  GREEN  WOOD. 
KEY  B.       M.  108  twice.       Observe  the  accent  A.  L.  CovnxY. 


:8| 

d  :d 

:d 

Id  :d 

:r 

n  :- 

:n 

|n  :- 

:r 

m  :- 

:-  Is  :- 

:r 

n  :- 

:-  Is  :- 

Hur- 

rah for 

the 

mer-ry 

green 

woods, 

hur 

-rah! 

Hur  - 

rah! 

Hur  - 

rah! 

ts, 

d  :d 

:d 

|d  :d 

:r 

n  :- 

:m 

|m  :- 

:t, 

d  :- 

:-  |n  :- 

:t, 

d  :- 

:-  |n  :- 

:si 

d  :d 

:d 

|d  :d 

:r 

m  :- 

In  :- 

:s  |s  : 

:s   |s  :- 

Hur- 

rah for 

the 

mer-ry 

green 

woodB, 

hur 

-rah! 

Hurrah! 

Hurrah! 

ts, 

d  :d 

:d 

Id  :d 

:r 

m  :- 

rn 

In  :- 

:d  Id  : 

:d  Id  :- 

Hur  - 


n  :n 

:n 

|r  :r 

:r 

d  :- 

1- 

:-  :si 

1,  :- 

:1| 

11,  : 

1,  :t, 

d  :d 

:d  Id  :- 

l.The 

sun 

on 

high, 

in  the 

cloud 

-  less  sky. 

rah  for 

the 

mer-ry 

green. 

woods, 

2.  No 

lord  - 

ly 

haU 

with  its 

col 

umns  tall. 

3.  No 

pal   -  - 

ace 

floor 

aU 

carp-et 

-  ed  o'er. 

4.  No 

state  - 

ly 

chair 

with  its 

cush  - 

ions  fair. 

d  :d 

:d 

It,  :t. 

:t. 

d  : 

:s, 

|3| 

1|  :li 

:1, 

11,  : 

S|  :si 

:s,  |s,  :- 

s  :s 

:s 

If  :f 

:f 

n  : 

:  n 

Im 

f  :f 

:f 

If  : 

n  :  n 

:n  |n  :- 

d  :d 

:d 

|si  :s, 

:s, 

d  : 

:d 

Id 

f| 

|f|  : 

d  :- 

:     Id  :- 

rah  for 

the 

mer-ry 

green-wooda. 

hur-rah! 

La,  la,  &C. 

/  Gomes 

Can 
iCan 

Can 


t,  :t|  :t|  |t|  :t. 

:d 

r  :- 

|r 

:si 

:si 

n  :r 

:d  |t|  :1,  :si 

forth  with  a  smile 

to 

meet 

me, 

And 

the 

fresh  - 

'ning  breeze,  comes 

vie    with  my  for    -  - 

est 

glade. 

And 

no 

la    -  - 

dy's  bower,  with 

vie    with  my  car  -  pet 

of 

green. 

And 

no 

gob  - 

let     fine,  with  its 

my    mos-sy  bank 

out- 

vie, 

And 

no 

crown  - 

ed      head,  on 

s,  :si  :si  |S|  :8| 

:s, 

ti  :- 

:t, 

It, 

:s. 

:s, 

n  :r 

:d  |t|  :1,  :si 

r  :r  :r   |r  :r 

:r 

r  :- 

:r 

|r 

:si 

:si 

n  :r 

:d  |t|  :1|  :S| 

S|  :-  :     |S|  :- 

T  .o    la  Xr/\ 

s,  :- 

1- 

:s, 

:s. 

n  :r 

:d  It,  :1|  :s| 

f  :  n  :r 

through  the 
trel-lis  and 
ro   -   -  sy 
down  -  ny 


14.../.*' 

trees,  With 
fiow-er 
wine 
bed 


f 

:n 

:r 

Id 

:t 

f 

:n 

:r 

Id 

:t 

f 

:  n 

:r 

Id 

:t 

:li 

8, 

:8, 

S| 

Is,  :1, 

:t, 

d    :—  :  — 

Id 

:—  :S|.S| 

d 

:d 

:d 

Id 

:d 

:r 

a 

wel 

come 

true 

to 

greet 

me. 

Then  hur- 

rah 

for 

the 

mer  - 

ry 

green 

:1, 

S| 

:s. 

8, 

If,  :- 

:f, 

n,  :—  :  — 

|n. 

:—  :S|.s, 

d 

:d 

:d 

Id 

:d 

:r 

Com- 

pare 

with 

my 

green 

trees 

shade 

Then  hur- 

rah 

for 

the 

mer  - 

ry 

green 

:1| 

t| 

:t. 

t, 

It,  :d 

:r 

d    :—  :  — 

Id 

:—  :S|.S| 

d 

:d 

:d 

Id 

:d 

:r 

Com- 

pare 

with 

my 

crys  - 

'-  tal 

stream. 

Then  hur- 

rah 

for 

the 

mer  - 

ry 

green 

:li 

S| 

:si 

S| 

Is,    :  — 

:s| 

d,  :-  :- 

|di 

:—  :s,  .S| 

d 

:d 

:d 

Id 

.d 

:r 

Has 

hap 

-  pi  - 

er 

dreams 

than 

I. 

Then  hur- 

rah 

for 

the 

mer  - 

green 

THIRD  STEP.  67 


n  :— 

:in  In 

:  — 

:r 

m 

:-|8  :- 

:r 

n  :  — 

:-|s 

• 

:s 

1  :1 

:1 

11  :1 

:1  > 

woods, 

Hurrah ! 

Hur 

- 

rah  ! 

Hur- 

rah  ! 

Hur- 

rah  for 

the 

mer-ry 

green 

PI  :  — 

:n  |pi  :  — 

:t| 

A 

'•  —  1  PI  t — 

.t| 

Q.    . — 

1  m 
.         1  PI 

•  A 

A    •  A 

a.   ,  Q. 

•  A 

\  A  >A 

1  O.  id 

•  A  1 

n  :  — 

:pi  |pi  :  — 

:s   |s  :  — 

:s  1  s 

:  — 

:  m 

f  :f 

:f 

|f  :f 

:f  1 

woods, 

Hurrah  ! 

Hurrah ! 

Hurrah! 

Hur- 

rah  for 

the 

mer-ry 

green 

m  :  — 

:m  |m  : — 

: 

:d  Id  :  — 

: 

• 

:d  Id 

:d 

ft  :fi 

:f| 

|fi  :fi 

:f,  1 

s  : — 

• —  l~ 

-  ! — 

:si 

s 

:-  !-:- 

:S| 

s  : — 

:-  1- 

: — 

:s 

f  :f 

:f 

1  PI  :  PI 

:n  ^ 

woods, 

Hur 

rah ! 

Hur- 

rah ! 

Hur- 

rah  for 

the 

mer  -  ry 

green 

d  :— 

-  : — 

:si 

t| 

:-  Id  :- 

:si 

ti  :- 

:-  Id 

•— 

:pi 

r  :r 

:r 

Id  :d 

:d  ( 

PI  : — 

:s 

f 

:-  IPi  :- 

:s 

f  :— 

:-  IPi 

:s 

s  :  s 

:s 

|s    :  s 

:s 

woods. 

Hur 

rah! 

Hur- 

rah  ! 

Hur- 

rah  for 

the 

mer  -  ry 

green 

d  :— 

• —  l~ 

-  : — 

:si 

S| 

:-  Id  :- 

:s, 

S|  :— 

:-  Id 

! — 

:d 

t,  :t, 

:t, 

Id  :d 

:d 

r  : — 

:—  1- 

:r 

PI 

:-  Is  :- 

:r 

PI  : — 

: —  |s 

:s 

PI  :pi 

:  PI 

|r  :r 

:r  ^ 

woods, 

Hur 

- 

rah 

Hur- 

rah  ! 

Hur  - 

rah  for 

the 

.  mer-ry 

green 

t|  :— 

:-  1- 

.  4- 
.t| 

d 

1  m  * 
•  —  |P1    . — 

A  ' 

:-  |Pi 

:S| 

A    •  A 

•  A 

If    •  f 
|t|  .tj 

.t|  ( 

s   : — 

:-  1- 

:  s    1  s    : — 

:s  |s 

:s 

s  :s 

:s 

If  :f 

:f 

woods. 

Hurrah ! 

Hurrah  ! 

Hur- 

rah  for 

the 

mer-ry 

green 

s,  :— 

:-  1- 

• 

:d  Id  :— 

• 

:d  Id 

:si 

d  :d 

:d 

liSi  :S| 

:s,  1 

d  :— 

: 

:s 

PI 

:n    :m  |r 

:r 

:r 

d  :— 

• 

1 

•  • 

s 

1  :— 

woods. 

Hur  - 

rah 

for     the    mer  -  ry 

green 

woods, 

Hur- 

rah  I 

Hur- 

d    : — 

: 

d 

:d    :d    |t|  rt. 

:t, 

d  :— 

1 

:d  ( 

PI     ! — 

:8  1 

s  :- 

• 

S 

s 

:s    :s  If 

:f 

:f 

PI   : — 

:s 

Is 

PI 

f  :— 

Hur-rah ! 

Hur  - 

rah 

for     the    mer  -  ry 

green 

woods, 

Hur-rah ! 

Hur- 

rah ! 

Hur  - 

:8  1 

s  :■ 

d 

:d   :d    |S|  :S| 

:si 

d  :— 

:s 

Is 

t  f  i 

1  : 

:s 

1- 

:—  :1 

s    :s  :s 

Is  : 

s 

:s 

S  .— 

-   :8  Id' 

ran  ! 

Hur  - 

rah ! 

Hurrah ! 

Hur  - 

rah   for      the    mer  - 

ry 

green 

woods, 

Hur  -  rah  1 

d  :— 

:d 

|d 

:—  :d 

t|    :  t|     :  t| 

It,  :t, 

:t, 

d  :- 

:t,  Id 

• 

:  m 

f  : 

1- 

:—  :f 

f  : 

f  :f 

If  :f 

:f 

PI   : — 

:f 

|m 

rah  ! 

Hur  - 

rah ! 

Hurrah ! 

Hur  - 

rah   for      the   mer  - 

^reen 

woods, 

Hur  -  rah ! 

f,  :— 

fl 

|fi 

:-  :f. 

S|     :S|  :S| 

Is'  :8i 

:$, 

d  :- 

:b,  |d, 

• 

THIRD  STEP. 


KEY  D.     M.  112. 

Boldly,  wUhotit  dragging. 


WAKE  THE  SONG  OP  JUBILEE. 


Chesteb  G.  At.t.tctj,  by  per. 
t 


d'  :t 

Id' 

:-  .1 

s 

:-  .f 

m 

r 

:r 

If 

:1 

s 

:n 

\T 

PI  :f 

1  s 

:-.f 

n 

:-  .r 

d 

t, 

:d 

|r 

:f 

ni 

:d 

It, 

Wake  the 

song 

of 

Ju 

-  -bi. 

lee, 

Let 

it 

ech 

-  0 

o'er 

the 

sea. 

s  :s 

1  s 

:-.d' 

d' 

:-  .8 

8 

S 

:s 

Is 

:s 

S 

:s 

Is 

d  :r 

1 

:-.f 

s 

:-  .8, 

d 

f 

:  m 

|r 

:t, 

d 

:m 

Is 

:r 


lee, 

r'  :t 


8 

Let 


8 

Let 


d' 

:8 

|1  :t 

d'  :r' 

n 

:m 

If  :f 

m.s:s 

Let 

it 

soond  from 

shore  to 

8 

:d' 

|d<  :s 

8  :t 

d 

:d 

If  :r 

d.mts 

8  :- 

.8 

Is 

Wake 

the 

song 

:n 

of 

:d' 

s  :- 

.8 

8 

Wake  the 


8 

ech 


:s 

o 


8  :8 

ech  -  o 


r  :m 

o'er  the 

t  :d' 


If 


:r 


sea, 


:t 


d'  :t.l|s 

:n 

1 

:8.f 

|m 

d'  :t.l|s 

:pi 

1 

:8.f 

|m 

Wake  the 

song 

-   bi  - 

lee, 

di  :t.l|s 

:  PI 

1 

:s.f 

m 

d'  :t.l|s 

:  PI 

1 

:8.f 

f 

:s 

jl 

:r' 

d' 

:t 

Id' 

7f 

1 

1 

7> 

d 

Let 
1 

:d 

it 

:8 

Id 

ech 
If 

:f 

•  0 

:1 

PI 

o'er 
8 

:f 

the 

:s 

1  ^ 

sea; 

1  s 

d 

Now 
PI 

:r 

is 

:8 

|Pi 

come 

Id' 

:-.f 

the 

PI  :r 

promis'd 

8  :f 

Id 

hour, 

|m 

f 

Je  - 
1 

:n 

sns 

:s 

f 

:in 

If 

:r 

8 

:si 

Id 

1 

* 

1 

t 

:d' 

|r' 

:t 

d' 

:r' 

|Pi' 

P 

d' 

11 

:r' 

d> 

:t 

f 

80V 
t 

:Fn  |r 

-  reign  pow'r. 

:d>  It 

r 

All 
8 

:pi 

ye 

:8 

If 

na  - 

1  s 

:r 

tions 

:s 

8 

join 
8 

:8 

and 

:t 

Is 

sing. 

Id' 

PI  :s 

Christ  is 

d'  :d' 

if 

Lord 

Id' 

:f 

and 

:1 

PI 

Kin{ 
S 

:f 

^of 

:8 

S 

:8 

1  s 

:s 

m 

:s 

Id' 

d 

:pi 

If 

:f 

8 

:si 

PI'  :  — 
8    :  — 

shore, 

d'  :- 
d'   :  — 


// 

d'  :t 


|1  :ri 


PI    :s  If  :f 

Je  -  sns  reigns  for  • 

d'   :d'  |di  :1 

d    :n  If  :f 


PI 

ev 

8 

8 


:t 
:f 

-  er 

•s 

:si 


Id'  :- 
I  PI    i — 

more. 

Is 

Id  :- 


All 


ye 


.8 


son^ 


1  :8 

reigns  with 

f  :pi 


d' 


PI 

kings 
8 


AU 


8  :s 

na  -  tions 


S  :8 


ye  na  -  tions 


THIRD  STEP. 


69 


t  f 


s 

: — 

1-  :- 

8 

:-  .8  1  8 

:s 

s     :  — 

1-  :- 

d' 

:t.l 

1  s    :  tn 

1     :s.f|pi    :  — 

join 

Je 

-   -  BUB  is 

the 

King 

r 

:  m 

If  :r 

:  1 

:p\ 

r  :n 

If  :r 

d' 

:t.l 

1  s    :  m 

1     :s_^f|n   :  — 

join 

and 

sing, 

the 

King  of 

kings, 

Let 

it 

sound  from 

shore  to  shore, 

t 

:d' 

Ir'  :t 

:  1 

:d' 

t  :d' 

|r'  :t 

d' 

:t.l 

1  s  :pi 

1    :s.f|n    : — 

S 

8 

:-  .8  Is 

:s 

8    :  — 

1-  :- 

d' 

1 8  :m 

1     :8.f|n    :  — 

join 

Je 

-  -  BUS  is 

the 

King 

f 

:s 

|1  :r' 

d' 

:t 

Id' 

1 

1  : 

1 

d 

:d 

Id  :f 

n 

:f 

In  :- 

1 

1  : 

1 

Je 

-  BUS 

reignB  for  - 

ev 

-  er 

-  more. 

1 

:s 

If  :1 

8 

:8 

Is  :- 

1 

: 

1 

mezzo. 

f 

:m 

If  :r 

8 

:8| 

Id  :- 

d  :r 

In 

:d 

f    :  ni.r 

d 

1. 

:t, 

Id 

Now  the 

de 

-  sert 

lands  re  • 

joice, 

And 

ths 

is 

m 

is  •  lands' 


r    :d  Is, 

join   their  voice, 


S 

Now 


-  .8  jS 

the  de 


Yea, 


d  |r 

the  whole 

I 

PI    I  r 


m 

ere  • 


Yea,    the   whole  ere 


S 

sert 


s 

:-  .8 

Is 

:8 

/ 

d' 

:t  .1 

Is 

:  n 

d' 

:t  .1 

Is 

:  m 

Yea, 

the 

whole 

ere 

d' 

:t  .1 

Is 

:  m 

d' 

:t  .1 

Is 

:  m 

r' 

lands 
f 

8 

lands, 
8 


d' 

re 

m 


It 

joiee, 

I  r 


: 

1 

:t 

Id' 

:r 

m'  :  r' 

Id'  :— 

irn.r 

Id  : 

f 

:f 

In 

:r 

8  :f 

|n    :  — 

-  tion 

sings, 

Je 

-  sns 

is 

the 

King  of 

kings! 

1  : 

d' 

:r' 

Is 

:1 

s^:t 

Id'  :- 

:s  .f 

|m  : 

f 

:r 

In 

:f 

s  :si 

Id  :- 

-  tion 

sings. 

1 

• 

r' 

:d'  It 

t 

join 

their  voice, 

1 

f 

:m  |r 

t 

8 

:-.8l 

8  : 

8 

8 

And 

the 

islands 

join, 

s 

.8| 

8  : 

8 

S 

;s  .f  I  n     : — 

:s  .f  I  n     : — 

tion  sings, 

:s  .f  I  m     :  — 

:s  .f  I  m     :  — 


t  // 
f 

d 

Je 
1 
f 


:d 

sns 

:8 
:n 


II 
Id 

is 
If 
If 


<7\ 

:r' 

d< 

:t 

Id' 

• 

:f 

m 

:f 

In 

• 

the 

:1 

King 
S 

of 

:s 

kings. 

Is 

:r 

8 

:8| 

Id 

60 


THIRD  STEP. 


The  Metronome  is  an  instrament  for  regulating  the 
rate  of  movement  in  a  piece  of  music.  It  is  a  pendulum  which 
can  be  made  to  swing  at  various  rates  per  minute.  M.  60 
(Metronome  60),  in  the  Tonic  Solfa  notation  means,  "Let  the 
pulses  of  this  tune  move  at  the  rate  of  60  in  a  minute."  In  the 
case  of  very  quick  six  pulse  measure,  the  metronome  rate  is 
made  to  correspond,  not  with  pidses,  but  with  half  measures — 
"beating  twice  in  the  measure." 

A  cheap  substitute  for  the  costly  clockwork  metronome  is  a 
string  with  a  weight  attached  to  one  end — a  common  pocket  tape- 
measure  is  the  most  convenient.  The  following  table  gives  the 
number  of  inches  of  the  tape  required  for  the  different  rates  of 
movement.  The  number  of  inches  here  given  is  not  absolutely 
correct,  but  is  near  enough  for  ordinary  purposes. 

M.  50  Tape  56  inches. 

M.  56   "  47 

M.  60   "38 

M.  66   "  31 

M.  72   "  27 

M.  76   "  24 

M.  80   "  21 

M.  88   "  17 

M.  96   "    13i  " 

M.120   "      8i  " 

Remembering  M.  60.  Just  as  it  is  useful  to  remem- 
ber one  tone  in  absolute  pitch,  so  also,  is  it  useful  to  remember 
one  rate  of  movement.  The  rate  of  M.  60  is  to  be  fixed  in  the 
mind  as  a  standard;  then  twice  that  speed,  M.  120;  or  a  speed 


half  as  fast  again,  M.  90,  are  easily  conceived.  Tc  liz  60 
the  mind,  the  teacher  will  frequently  ask  the  pupiiB  to  uegix 
Tcuitaing  at  what  they  consider  to  be  that  race,  isii  then  teei 
them  with  the  metronome.  The  recollection  of  rate  of  move- 
ment is,  like  the  recollection  of  pitch,  affected  by  temperament 
of  body  or  mood  of  mind.  But  these  difficulties  can  be  con- 
quered, so  that  depression  of  either  kind  shall  not  make  us  sing 
too  slowly. 

Sustaining  the  E.ate  of  Movement.  The  power  of 
sustaining  a  uniform  speed  is  one  of  the  first  and  most  import- 
ant musical  elements.  To  cultivate  this  faculty  the  teacher 
requires  the  pupils  to  taatai  on  one  tone  a  simple  measure,  thus: 


repeating  it  steadily  six  or  eight  times  yyith  the  metronome,  so  as 
to  get  into  the  swing.  He  then  stops  the  metronome  while  they 
continue  taatarng  for  several  measures,  then  starts  it  again,  on 
the  first  pulse  of  the  measure,  and  the  class  can  see  immediately 
whether  the  rate  has  been  sustained. 

The  Half-Pulse  Silence  is  indicated  by  the  blank 
space  between  the  dot  (which  divides  the  pulse  into  halves)  and 
the  accent  mark.  It  is  named  SAA  on  the  first  half  of  the 
pulse,  and  SAI  on  the  second  half,  thus: 

I         .1        :  or  11        .  : 

SAA      TAI  TAA  8AJ 

In  taataing,  the  silent  half  pulses  are  passed,  by  whispering 
the  time  name. 


Ex.  157. 


TAATAI  TAA  iS.il/ 

TAATAI  TaASAI 

taa<SA/taAjSA7 

TAA  SAI-AA 

i 

1  .1  :1  . 

1  .1  :1  . 

1  . 

:1  . 

1  .  : 

< 
/ 

d  .r  :  m  . 

r  .PI  :f  . 

m . 

:  s  . 

d .  : 

PI  .r  :  d  . 

f  .PI  :r  . 

PI. 

:d  . 

s  .  : 

Ex.  158. 

TAAiSAlTAATAI  TAA 


1.   :1  .1 

d  .  :  PI  .r 
m.    :s  .PI 


BAI TAl  TAATAI    TAATAI  TAA.  SAITAJlSaJ 


1  .1  :1  .1 

PI  .f  :s  .1 
r  .d  :t,  .r 


1  . 

s  . 
PI , 


Ex.  159. 


Ex.  160. 


TAATAI  SAA  TAI 

TAATAI  TAI 

TAATAI 

TAATAI 

taaSAI-AA 

TAASAI-AA  TAI 

taaSAJ-AAtai 

TAATAI /SAA  TAI 

taajSA/taajSA/ 

1  .1  :  .1 

1  .1  : 

.1 

1  .1 

:1  .1 

1  .  : 

1. 

:  .1 

1.    :  .1 

1  .1  : 

.1 

1  . 

:1  . 

PI  .d  :  .r 

f  .r  : 

.r 

PI  .d 

:s  .PI 

d  .  : 

1 

s . 

:  .1 

s  .     :  .PI 

f  .PI  : 

.r 

d  . 

:t,. 

s  .m  :  .d 

PI  .d  : 

.d 

t|  .d 

:r  .PI 

f  .  : 

PI. 

.r 

d .    :  .t| 

r  .d  : 

.r 

PI . 

:d  . 

Ex.  161. 

Mer 

d 

Mer 


KEY  D.    Round  in  two  parts. 


•  d' 

:d'  . 

1* 

.t 

:t 

Idi 

.t 

:1  .s 

p 

.t 

:d'  . 

-  ry 

May, 

1  met 

-  ry 

May, 

1  How 

I 

love  the 

1  mer 

-  ry 

May. 

.d 

:d  . 

.r 

:r 

Im 

:n 

.f 

:m 

-  ry 

May, 

1  mer 

-  ry 

May, 

1  Yes, 

■yes, 

1  mer 

-  ry 

May, 

Ex.  162.    KEV  F.    Round  in  four  parts. 

.dlm.d:   .n|s.Pi:   .sll  :l.l|s 

Says|wiUiam     to  Ju-lia,       I  |  live 

s  . m  :    .d  I R  .d  :    .did      :d  .d  |d 

Ju-lia         to    William,      'tis  I  true,  though  in  rhyme, 


* 

.mis 


:s  .s  |s     :s  .8  Id     :d  .d  |d 


on  your  smiles,  Yourj  pres  -  ence  a  -  lone     all  myi  sor  -  rows  be-guiles 

.d  Id      :d  .d  |d      :d  .d  If,  .s,  |d  . 

You  I  live       ve  -  ry  cheap     at  thisi  ve  -  ry    dear  time 


.8  ) 

Says ) 


THIED  STEP. 


YES,  OR  NO. 

KEY  G.    M.  96,  L.  Mason. 


d 

:d  .d 

d 

.d  : 

.S| 

d 

:  PI 

r 

PI 

'  I 

.  PI 

S| 

:s,  .S| 

Sl 

.s,  : 

.s, 

S| 

:si 

8| 

S| 

:s, 

.s, 

1.  Short 

speech  suf  - 

fi 

-  ces 

deep 

thought 

to 

show, 

When 

you 

with 

2.  Time 

nev  -  er 

lin 

-  gers, 

moves 

nev 

er 

slow, 

While 

he 

per  - 

3.  Deep 

may  the 

im 

-  port 

for 

joy 

or 

woe, 

Be 

in 

the 

PI 

:n   . n 

PI 

.  PI  : 

.S| 

S| 

:d. 

t| 

d 

:r 

.d 

d 

:d  .d 

d 

.d  : 

.S| 

Pii 

:d, 

Sl 

• 

d 

:t, 

.d 

.d 


S|   .PI,  :l| 

wis  -  dom  say, 
mits  it,  say 
lit  -  tie 

t|  .d 
1. 


s. 

s 
d 

long, 
ne'er 
you 
PI 

d 


words, 

:d 


:1  .s 
:d  .d 

dull  and 
can  you 
would  fore- 

:f  .PI 
:d  .d 


s 
d 

slow, 
know 
go 

n 


r 

:  .t, 

d 

li 

:  .S| 

S| 

Yes, 

or 

No. 

Yes, 

or 

No. 

Yes, 

or 

No. 

f 

:  .r 

m 

ri 

:  .s, 

d, 

hPi 

:f 

S| 

Oh, 
If 

Eyes, 

d 
d 


s 

:1 

.  s 

s 

:  n 

d 

:d 

.d 

d 

:d 

Save 

me 

from 

speech 

-  es, 

K 

he 

es  - 

capes 

you. 

But 

if 

the 

utt'r 

ance 

PI 

:f 

.  PI 

m 

:d 

d 

:d 

.d 

d 

:d 

PI 
s, 

how  much 
you  a  - 
ev  -  en 

:r  .d 
:t,  .d 


r  .d  :1| 
S|  .Pi|  :1| 

bet  -  ter  plain 
gain  may  say, 
eyes  may  say, 

t,  .d  :d 
S|  .1,  :f, 


r 

li 

Yes, 
Yes, 
Yes, 
f 


.t, 

d 

•S| 

S| 

or 

No. 

or 

No. 

or 

No. 

.r 

PI 

.S| 

d 

MALVERN.    L.  M. 

KEY  D.  Db.  Lowell  Mason. 


PI     :  P] .  PI  1  PI  : 

-  .  PI 

pi.r 

rPl.f 

Is  : 

-  .s 

1 

:1 

\s  :- 

.  PI 

f  .s  :pi  . 

f 

|r  :- 

d     rd.dld  : 

-  .d 

d.t, 

:d  .r 

|P1  :- 

-  .  PI 

f 

:f 

1  PI  :- 

.d 

r  .  PI  :d  . 

r 

It,  :- 

L.  God  is    the  ref 

uge 

of 

his 

saints, 

When 

storms  of 

sharp 

dis- 

tress  in 

vade; 

!.  Here  is    a  stream 

whose 

gen  - 

tie 

flow 

Sup  - 

plies 

the 

cit  - 

y 

of  our 

God, 

J.  That  sa  -  cred  stream 

thine 

ho  - 

ly 

word 

Our 

grief 

al  - 

lays, 

our 

fear  con 

trols, 

s      :s  . s  1  s  : 

-  .S 

S 

:s  . 

Is  :■ 

-  .di 

d' 

:d' 

Id'  :- 

.  S 

s  :s 

s  :- 

d     :d.d|d  : 

-  .  PI 

S  .f 

:  PI .  r 

Id  : 

-  .d 

d 

:d 

Id  :- 

.d 

s,  :si 

si  :- 

PI     :  PI .  PI  1  PI  : 

-  .  PI 

pi.r 

tpi.f 

1  s  : 

-  .s 

1 

:1 

Is 

.  m 

r  .  PI  :f  ■ 

S 

jPi  :- 

d     :d.d|d  : 

-  .d 

dTt| 

:d.r 

|Pi  : 

-  .  PI 

f 

:f 

1  PI  :- 

.d 

t|  .d  :r  . 

PI 

Id  :- 

Ere     we  can  off 

er 

our 

com  - 

plaints, 

Be- 

hold 

him 

pres 

enl 

with  his 

aid. 

Life,   love  and  joy, 

stm 

glid  - 

ing 

through. 

And 

water 

-ing 

our 

di  - 

vine  a 

bode. 

Sweet  peace  thy  prom 

-   is  - 

es 

af  - 

ford 

And 

give 

new 

strength 

to 

faint  -  ing 

souls. 

s     :s  .s  1 s  : 

-  .S 

S 

:s 

Is  : 

-  .d' 

di 

:di 

Id'  :- 

.  S 

s  :s 

is  :- 

d     :d.d|d  : 

-  .PI 

S  .f 

rpi.r 

Id  : 

-  .d 

f 

:f 

Id 

.  PI 

s  .  :S| 

Id 

62 


THIED  STEP. 


KETZ  G. 


SPEAK  KINDLY. 


S|    .d     :d  .PI 

pii  .  Pi|  :  Pi|  .  S| 

kind-ly  to  thy 
thou -Band  cares  his 
kind-ly  to  thy 
haps  some  gen  -  tie 

d  .d  :d  .d 
4   .d    :d  .d 


n  .r 


:r  .r 


S|   .S|    :si  .S| 

fel  -  low    man,  He 
hearten  -  twine,  Al 
fel  -  low    man,  It 
word  of 

d  .t| 


Si 


8, 


thine  May 

:t,  .t, 
:  8,    .  f, 


m  .f    :s  .f 

s,   .S|    :8|  .1| 

may  have   griefs  thou 
though  he   shows  a 
may  the      rich  -  est 
trouh  -  led, 


soothe  a 

d*  .r 


:  n  .r 
:d,  .f, 


T.  F.  Sbwaed. 

D.  0. 


ni 

:r 

a 

S| 

:fi 

mi 

canst 

not 

see,  ) 

smile 

to 

thee.  ) 

good 

im     .  - 

part;  l 

ach  - 

-  ing 

heart.-) 

d 

:t, 

d 

:8, 

d, 

.r 

:8, 

.S| 

d    .  PI 

:d 

.d 

t, 

.r 

:s, 

.8, 

d 

.  n 

:d 

.8| 

kind 

ly. 

speak 

kind    -  ■ 

•  ly. 

speak 

kind 

-ly 

to 

thy 

fel 

-  low 

man, 

He 

.S| 

:si 

.8, 

.S| 

:8| 

.8, 

S| 

.s, 

:s, 

•S| 

S| 

.8| 

:si 

.S| 

Speak 

kind 

-ly. 

spea] 

i  kind 

-  ly. 

kind 

-ly 

to 

thy 

fel 

-  low 

man, 

He 

.f 

:f 

.f 

.  n 

:n 

.  n 

f 

.f 

:f 

.f 

PI 

.  PI 

:  PI 

.  PI 

.8, 

:s, 

.8, 

.d 

:d 

.d 

.S| 

:si 

.8, 

d 

.d 

:d 

.d 

S| 

.d 

:d 

.  PI 

m  .r 

:r 

.r 

PI  .f 

:8  .f 

PI 

:r 

d 

Si 

.pii 

rpii 

.S| 

8,  .8| 

:8| 

.8, 

8,  .8, 

:si  .1| 

S| 

:fi 

PI, 

may 

have 

griefs 

thou 

canst  not 

see. 

Al  - 

though  he 

shows  a 

smile 

to 

thee. 

m 

.d 

:d 

.d 

d  .t, 

:t, 

.t, 

d  .r 

:n  .r 

d 

:t, 

d 

d 

.d 

:d 

.d 

B|  .S| 

:s, 

.f| 

PI,  .r, 

:d,  .f, 

:8, 

d, 

•  _ 

A  pulse  divided  into  two  quarters  end  a  half,  is  named 
tafaxAL    It  is  indicated  thus: 

II  ,1  .1  : 

tafa  TAi 

A  half  and  two  quarters  are  named  XAA-tefe.  They  are 
indicated  thus: 


II 


•1 

tefe 


A  pulse  divided  into  a  three-c^uarter  pulse  tone  and  a 
quarter,  is  named  TiiA-efe.  It  is  indicated  by  a  comma  placed 
close  after  a  dot,  thus: 

.    II        .,1  : 
TAA  —  efe. 


Ex.  163. 


TAA 

TAA 

TAI 

ta-fa 

TAI 

ta-fa 

TAI 

ta-£a 

-  te 

-fe 

TA^ 

TAI 

TAA 

8AA 

1 

:1 

.1 

1  ,1 

.1 

:1  ,1 

.1 

1  ,1 

.1 

,1 

:1 

.1 

1 

d 

:d 

.r 

p\  ,r 

.d 

:m  ,r 

.d 

d  .r 

.  PI 

,t 

:s 

.  PI 

d 

PI 

:pi 

.f 

.  PI 

:f  ,m 

•  r 

n  ,r 

.d 

,t, 

:d 

.8 

d 

Ex.  164. 

TAA 

TAA 

TAI 

TAA 

te  -  f  e 

TAA 

TAI 

TAA 

te- 

■  fe 

TAA 

TAI 

TAA 

TAI 

TAA  BAt 

1 

:1 

.1 

1 

.1  ,1 

:1 

.1 

1 

.1 

,1 

:1 

.1 

1 

.1 

:1 

d 

:d 

•  r 

PI 

.r  ,n 

:f 

.  PI 

r 

.d 

,r 

:  PI 

.r 

d 

•t, 

:d 

u 

:s 

.  PI 

d 

.r  ,d 

:t, 

.d 

r 

.  PI 

,r 

:d 

•  t, 

d 

.m 

:s 

THTRT)  STEP. 


Ex  165. 

TAA      te  -  fe    TAA  te  -  f e    taa   -    -  efi 

1      .1  ,1  :1  .1  ,1    1  .,1 

d      .r  ,n  :f  .  pi  ,f    s  .,1 

d      .tn  ,r  :d  .r  ,in   f  .,n 

Ex.  166.    Key  F.  Round  in  four  parts. 


d 

AU 


.  r 

to 


II 

II 
II 
II 

{I 
{I 


:m  .r 

geth  -  er 


d 

let 


.t, 

us 


s  ,s  .s 


s  ,s  .  s 

Gentle-men,  gentle  -  men,  |  gentle -men,  sing, 
Ex.  167.    KEY  F.    Round  in  four  parts. 

d 

Come, 
* 

m 

Come, 


TAA 

efe 

TAA 

-  efe 

TAA 

XAI 

TAA 

8AA 

:1 

.  1 

1 

1 
•>* 

:1 

.1 

1 

:s 

•.1 

s 

:  PI 

.T 

3 

a. 

• 

:i 

.,8 

1 

.,8 

:i 

,T 

a 

• 

:d 

1  ^ 

.f 

:s 

.f  1 

n 

.1 

:  m 

sing. 

\  We 

will 

make 

the 

wel 

-  trin 

ring; 

:s 

Id 

:d 

1 

.S| 

:d 

sing. 

1  Sing, 

sing. 

la  • 

■  dies, 

sing. 

:d 


:s 

come, 


S 

There 

d 

La 


.d  ,r 

la  la 


:  m 

la 


d 

Sound 
S 

Tra 


.,r  :n 

the  strain 

.,f  :n 

la  la 


. d  ,r  1  n  .PI 

to  the|  sing  -  ing 

:d  . 

school, 

d 

Let 

|r 

1  no 

.r 

one 

:t, 

stay 

.t, 

a  - 

d 

way; 

Id 

1  come, 

•  ,,,  , 
• 

Is, 

1  Come 

•S|  ,S| 

to  the 

:S| 

sing 

-  mg  1 

d 

school. 

.s       1  PI 

we'll     1  sing 

PI 

the 

If 

1  mer  - 

.f 

:f 

mer 

1 

-  ry 

PI 

round. 

.  PI  ,f  1 S       .1  ,S 

la    la  1  la        la  la. 

:n 

la 

n  ,f 

la  la 

1  la 

.f 

la 

:r 

la 

la  1 

d 

la. 

Round  in  four  parts. 

* 

1  ^ 
\  0  - 

.,r  Id 

a  - 1  gain. 

•  _ 

•  • 

.,f 

-  ver 

:s 

sea 

and 

PI 

main. 

.,f  u  .,f 

la   |la  la 

:n 

la 

.,r 

la, 

IPI 

Tra 

•,r 

la 

:d 

la 

.,r  1 

la  1 

PI 

la 

.,r  :d 

la  la 


.,t| 

la. 


KB?  A. 

d  :s|.,s,ld 
pii  :pi|.,Pi|lni 

1.  Light  of   the  soul, 

2.  Son   of   the  Fa  - 

3.  Je  -  8UB  is  from 

d  :d.,d|d 
d  :d.,dld 

r  :t|.,d|r 
S|  :S|.,S|]S| 

Darkness   and  guilt 
Come  in    thy  hid 
Through  him  unto 

t|  :S|.,l||t| 

S|  :S|.,S||S| 


ANTWERP.    L.  M. 


T.  F.  Sewabd. 


:-.d 

r 

:t, 

Id     :  — 

PI 

:d  .,r  1  PI 

:-  .PI 

f 

:  PI 

|r  :- 

:-.pii 

fi 

:fi 

1  nil    :  — 

s. 

:  Pi,.,f,|  S| 

:-  .s, 

s. 

:8| 

Is,  :- 

0 

Sav  - 

iour 

blest ! 

Soon 

as   thy  pres 

ence 

flUs 

the 

breast. 

-  ther, 

Lord 

most 

high  ; 

How 

glad  is  he 

who 

feels 

thee 

nigh; 

the 

proud 

con  - 

cealed, 

But 

ev  -  er  -  more 

to 

babes 

re  - 

vealed. 

:-.d 

t, 

:r 

Id  :- 

d 

:s,  .,S||d 

:-.d 

r 

:d 

It,  :- 

:-.d 

S| 

:si 

Id,  :- 

di 

:  di.,di|  d. 

:-.d 

t. 

:d 

Is,     :  — 

:-  .PI 

fj 

:pi  .f 

|r  :- 

PI  .r 

:f  .PI  |s  .f 

:  PI  .r 

d 

:t. 

Id  :- 

:-  .S| 

S| 

:si 

Is,  :- 

S|  .f. 

:li  .S|  |s. 

:s,  .1, 

S| 

:f| 

1  ni,  :— 

are 

put 

to  ^ 

flight. 

All 

then  is  sweet  - 

ness 

and 

de  - 

light. 

•   -  den 

maj 

es 

ty, 

Fill 

us    with  love, 

fiU 

us 

with 

thee. 

the 

Fa  - 

ther 

be 

Glo  - 

ry    and  praise 

e   -  - 

ter  - 

nal  - 

ly- 

:-.d 

r  .PI 

:d  .r 

It,  :- 

d 

:d  .d  i  PI  .r 

:s  .f 

PI 

:r 

1  n      :  — 

:-.Si 

Sl 

:si 

Is,  :- 

d, 

:  d,.d|  |d|  .r. 

:Pi,.f, 

S| 

:8, 

Id,  :- 

64 


THXED  STEP. 


OH!  THE  SPORTS  OP  CHILDHOOD. 

KEY  C.    Smoothly ;  in  swinging  style.    M.  104. 


O.  B.  Basbows. 


s    .,1  :s    .,f  1 

rn 

:di 

s  .,1 

:s 

,f  In 

:d' 

r' 

,d' 

:t 

.,1  l8 

:r' 

ni   .,f  :n   .,r  | 

d 

:  PI 

m  .,f 

:  n  . 

,r  Id 

:m 

f 

,f 

:f 

.,f  If 

:f 

1.  Oh,  the  sports  of 

child 

-  hood! 

Eoaming 

thro' 

the  wild  - 

wood, 

Run 

-nin 

g  o'er 

the  mead 

-  ows, 

2.  Swaying  in  the 

snn 

-  beams, 

Floating 

in 

the  shad 

ow, 

Sail 

-inj 

I  on 

the  breez 

•  es, 

3.  Oh,  the  sports  of 

child 

-  hood! 

Eoaming 

thro' 

the  wild 

-  wood. 

Sing 

-in^ 

I  o'er 

the  mead 

-  ows, 

d'  .,di:di  .,dil 

di 

:s 

d'  .,di 

:d' 

,d'  1  d' 

:s 

t 

,d' 

:ri 

.,dl  1  t 

:t 

d   .,d  :d   .,d  | 

d 

:d 

d  .,d 

:d 

,d|d 

:d 

S 

.,s 

:s 

.,s  |s 

:s 

d' 

:1 

Md' 

S 

s 

,1 

:s 

.,f 

In 

:d' 

s  .,1 

:s 

.,f  IPI 

:d' 

n 

:f 

.,f 

m 

m 

,f 

:ni 

!d 

:pi 

m  .,f 

:  PI 

.,r  1  d 

:  PI 

Hap  - 

py 

and 

free; 

How 

my 

heart's  a 

beat  - 

ing. 

Thinking  of 

thp  greet  - 

ing, 

Hap  - 

py 

and 

free; 

Chas 

-ing 

all 

our 

sad  - 

ness. 

Shout-in 

g  in 

our  glad  - 

ness 

Hap  - 

py 

and 

free; 

But 

my 

heart's  a 

beat  - 

ing, 

For    the  old 

time  greet  - 

ing, 

d' 

:d' 

.,1 

di 

d' 

,d' 

:d' 

.,d' 

Id' 

:s 

d'  .,di 

:d' 

.,d'|d' 

:s 

d 

:d 

.,d 

d 

d 

,d 

:d 

,d 

Id 

:d 

d  .,d 

:d 

.,d  id 

:d 

Chorus. 

ri  .,d' 

:t 

.,1 

s 

:t 

d' 

S 

:d' 

1  ml 

:d' 

f  .,f 

:f 

.,f 

f 

:f 

.,f 

m 

j- 

PI 

:  PI 

1  s 

:  PI 

Swinging 

'  'neath  the 

old 

ap 

-  pie 

tree. 

Swing  - 

ing. 

swing  - 

ing- 

Swinging  'neath  the 

old 

ap 

-  pie 

tree. 

Swinging 

'neath  the 

old 

ap 

-  pie 

tree. 

Swing 

ing. 

S  ,1 

:t 

.,d' 

r' 

:r' 

.,t 

d' 

1- 

d' 

1  s 

s  .,s 

:s 

.,3 

s 

:s 

.,S 

d 

1- 

d 

Id 

s 

:d"  1 

m' 

:d' 

r'  .,d':t   .,1|8       :t  .,ri 

d' 

:1 

.,d' 

Is 

8 

:d' 

m 

:m  1 

s 

:m 

f  .,f 

:f   .,f|f       :f  .,f 

m 

:f 

.,f 

|m 

m 

:m 

Swing  ■ 

ing,       swing  - 

ing. 

Lull -in 

g  care  to 

rest    'neath  the 

old 

ap 

-  pie 

tree. 

Swing 

-  ing. 

Swing 

ing. 

Swing  - 

ing 

'neath  the 

old 

ap 

-  pie  tree. 

Swing 

d' 

S 

t 

t  :t 

di 

:di 

.,1 

d' 

• 

d' 

d 

:-  Id 

S 

:s 

s  :s 

d 

:d 

.,d 

Id 

d 

ml 

:d' 

S 

:d' 

n' 

:d' 

ri  .,d':t  .,1 

Is 

:t 

d' 

1- 

8 

:n 

m 

:m 

:m 

f  .,f  :f  .,f  1  f 

if 

.,f 

m 

- 

• 

swing  - 

ing, 

Swing 

-  ing, 

swing  - 

ing, 

Swinging 'neath  the  old 

ap 

-  pie 

tree. 

ing. 

Swing 

ing. 

Swinging 'neath  the  old 

ap 

-  pie 

tree. 

S 

d' 

Is 

s  .,1  :t  .,d'!r' 

rri 

.,t 

d' 

d 

d 

d 

s    .,8  :s  .,8 

Is 

:s 

.,8 

d 

- 

THIRD  STEP. 


K  L. 

KET  G. 


THE  OLD  BLACK  CAT. 


S|   .  m 

:n 

m 

.r 

:r 

S| 

.r 

:r 

S|  .d 

:d 

.,d 

d 

.t, 

:t,  . 

S| 

.t, 

:t, 

1.  Who  so 

fuU 

OI 

fun 

and 

glee, 

Hap-py 

as 

2.  Some  will  choose 

the 

tor  - 

toise 

shell. 

0  - 

thers 

love 

3.  When  the  boys, 

to 

make  her 

run. 

Call  the 

dogs 

m  .3 

:s 

1 

8 

.  8 

8 

.8 

•  St 

d  .d 

:d 

..d 

d 

.8, 

:8|  . 

8| 

.S| 

:si 

n  .r 

:r 

S| 

•t, 

:r 

.,P1 

r 

.d 

:d 

d,  .t, 

:t, 

.,t, 

Si 

.8, 

:t, 

.,d 

t, 

.d 

:d 

nice  and 

fatr— 

Oh, 

how 

I 

love 

the 

old  black 

cat. 

this  or 

that, 

But 

give 

to 

me 

the 

old  black 

cat. 

on  my 

hat, 

And 

fly 

to 

save 

the 

old  black 

cat. 

S  .8 

:s 

.,8 

8 

.  8 

:8 

.,8 

f 

.  m 

:  Pt 

d  .S| 

:si 

.,S| 

S| 

.8, 

:8, 

.,8| 

.d, 

:d, 

r  .d 

:d 

.,d 

t|  .d 

:d 

a 

cat  can 

be? 

the 

white  so 

well. 

and 

set  them 

on. 

.,8 

f  .n 

:pi 

.,S, 

8|  .d 

:d 

Pityingly. 


Poor 


.r 


.t, 


f  .t|  ;t,  .r 
r  .8|  :si  .f| 


0, 


poor 


r  .d 

f,  .n, 

kU  -  tyl 


PI 

:r 

.d 

f 

.1  . 

d 

:t, 

.li 

ll 

.d  :-  . 

su  - 

ting 

so 

CO 

-  »y. 

8  .  t|  :  t| 
ti  .S|  :S| 

Close  by 


Briskly. 


8|   .  m 

:  PI 

.,f 

PI  .r 

:r 

.8, 

8,  .r 

:r 

.,Pi 

r 

.d 

:d 

.8| 

S|  .d 

:d 

„d 

d  .t, 

:t, 

.S| 

8,  .t| 

:t, 

.,d 

ti 

.d 

:si 

.8, 

Pleasant, 

pur 

-  nng, 

pret  -  ty 

pus 

-  ey, 

Frisk-y, 

full 

of 

fun. 

and 

fus 

-  ey, 

PI  .8 

.,8 

S      .  S 

:s 

.  S 

S     .  S 

:s 

f 

.  PI 

:  PI 

.  PI 

d  .d 

:d 

.,d 

d  .8| 

:si 

.8, 

8,  .8, 

:si 

.,S| 

.d 

:d 

.d 

f  .1 

:1 

s 

.,t, 

:t, 

r 

.d 

:d 

PI 

:r 

d  .d 

•d 

t, 

.,S| 

:8| 

.,ti 

ti 

.d 

:d 

d 

mease  and 

rat,— 

0, 

I 

love 

the 

old 

black 

cat, 

Yes, 

I 

1  -f 

:f 

r 

•,r 

:r 

f 

.  PI 

:  PI 

8 

:f 

f; 

:fi 

S| 

.,S| 

:s, 

.,8| 

.d, 

•d, 

d 

B.  LowBY,  by  per. 


8|   .PI  :m 

8|   .d  :d 

.,d 

Pol  -  ished  sides 

so 

Let  them  choose 

of 

Quick-ly  I 

put 

PI  .8  :8 

.,1 

d   .d  :d 

.,d 

PI  .8 

d   .  n 

kit  -  tyl 


.,t, 

d 

•  • 

.,fl 

PI, 

the 

fire. 

S| 

.  m 

:pi 

.,pj 

S| 

.d 

:d 

.,d 

Mor 

-tal 

foe 

of 

PI 

.8 

:s 

.,8 

d 

.d 

:d 

.,d 

d 
d 

do. 

n 
d. 


66 


THIRD  STEP. 


TWILIGHT  IS  STEALING. 
A,  8.  KarppEE.  '  B.  C.  Umbku). 

KEY  G.   M.  72. 


d 

:d  .,r  1  n 

:8 

d     :n  .,n|r 

tl 

:t,  .,d|r 

f 

f      :pi  .,r 

PI 

t  , 

S| 

:8|  .,S||d 

:d 

s,     :d  .,d|t| 

• 

S| 

:s,  .,1,1 1| 

t, 

r  :d.,t||d 

1.  Twi 

-  light  is  steal 

-  ing 

Ov   -   er   the  sea, 

Shad 

-  ows  are  fall  - 

ing 

Dark   on  the 

lea; 

2.  Voi 

-  ces   of  loved 

oneSi 

Still 

xn  ft 

While  life  shall  last; 

3.  Come  in    the  twi  - 

light, 

Coni6,  oome  to  me, 

Bring 

-ing  80II16  IQ6S 

-  8&g€ 

Ov  -  er  the 

sea. 

m 

:n  .,f  1  s 

:  n 

PI     :s  .,s|s 

•  '  ■ ' 

r 

:r  .,Pilf 

:r 

8       :s  .,8 

: 

d 

:d  .,did 

:d 

d     :d  .,d|S| 

• 

8| 

:S|  .,si|  S| 

:si 

8|      :8|  .,8,1  d 

d 

:d  .,r  1  m 

:& 

• 

d     :n  .,Pi|r 

t| 

:t,  .,dlr 

:  m 

d     :-  1 

— 

S| 

:s,  .,S||d 

:d 

S|     :d  .,d|t| 

S| 

:S|  .,l||t| 

:t| 

d     :—  1 

Bome 

on  the  night 

winds, 

Voi  -  ces  of  yore 

Come 

from  the  far  - 

off 

shore. 

Lone 

-  ly    I     wan  - 

Seek  - 

1T1£T       fllflt.  "faT  - 

off 

home. 

Cheer 

-  ing  my  path 

-  way, 

While  here  I  roam, 

Seek  - 

ing   that  far  - 

off 

home. 

ni 

*  m  TIC* 
.  R  •)!  1  S 

:  PI 

m     :s  .,s  1  s 

•     """  ' 

r 

:r  .,m|f 

:8 

PI       . —  1 

:  — 

A 

U. 

:d 

d     :d  .,d| S| 

•     ,11  1 

S| 

:8|  .,S||  8| 

:8| 

d     :—  1 

•  , 

S 

:s      1  n 

:-  . s 

1  .s  :s  . PI  1  r 

r 

:r  Is 

r 

f  .  PI  :  m  .r 

d 

d 

:d  Id 

:-  .d 

d.d  :d  .d  |t, 

;  — 

t, 

:t,  It, 

;  _  , 

ti 

r  .d  :d  .t. 

d 

Far 

a     -  way 

be- 

yond  the  star-lit  skiee. 

Where  the  love 

-  U 

ght 

nev-er,  nev-er 

dies. 

m 

:  n      1  s 

.-  .pi 

f  .  PI  :  PI  .s  1  s 

•  

S 

:s      1  r 

•  _ 

8 

s  .s  :8  .f 

PI 

d 

:d  Id 

:-  .d 

d.d  :d  .d  |  s, 

:  — 

S| 

:si  |S| 

:- . 

S| 

8  .8  :8  .8 

d 

•  „  - 

d 

:d  .,r  1  PI 

:s 

d  :pi.,pi|r 

t, 

:t,.,d|r 

:n 

d      :  — 

• 

8| 

:S|  .,s,|d 

:d 

S|  :d.,d|t| 

S| 

:S|.,l||t| 

:t, 

d  :— 

1 

• 

Gleam  -  eth  a  man 

-  sion 

filled  with  de-  light. 

Sweet,  hap-py  home 

so 

bright. 

m 

:pi  .,f  Is 

:  PI 

PI     :  s  .  ,s  1  s 

r 

:r  .,Pi|f 

:s 

PI     : — 

h- 

d 

:d  .,d|d 

:d 

d      :d  .,d|  S| 

S| 

:S| .  ,S||.S| 

:s, 

d      :  — 

1- 

•  ■ 
• 

KEY  A.    Ronnd  in  two  parts. 


:8| 

Up, 


up 


:li  :t, 

and  a 


d  : 

way. 


* 

:m  Is  :8 

Why  I  longer 


:f 

de 


PI  :—  :d.dlt|  tl,  :t|  Id  :d  :pi 

lay,  When  the]  birds  and  the  |  blospoms  are 


S  : 

caU 


jlagV 


:8|  .Sjlsi  :1|  :t| 

Fno  tbe|  dwellings  of 


d  :—  :n.pi|f  :f  :f 

men    To  theirj  homes  in  the 


n  :- 

glen, 


:pi.Pi 

Let  us 


r  :t|  :si 

haste  ere  the 


S|    :S|  :S| 

shadows  are 


fi  : 

faU 


in,  ; 

ling. 


THERD  STEP. 


67 


EST  0. 


TO  THE  MOUNTAIN. 


J 1  1 

:d'.,r' 

d' 

:s 

1 

rs  .,1 

s 

:  PI 

:  PI 

.,pi 

r 

.PI  :f  .s  :1  .8 

8        •  PI 

:s  .8 

:n.,f 

PI 

:  PI 

:n.,f 

PI 

:d 

:d 

.,d 

.d 

:r.pi  :f  .Pi 

m     :  d 

:  PI  .PI 

l.Tothe 

mountain, 

to  the 

mountain, 

To 

the 

motm 

-  tain  ft 

way  

Let  us 

2.  To  the 

mountain. 

to  the 

mountain. 

To 

the 

moun 

-  tain  a 

way,  

Let  us 

:s  .,s 

S 

:d< 

:di.,di 

di 

:s 

:  s 

.,S 

S 

:s  :s 

8      :  — 

:d'  .d 

:d  .,d 

d 

:d 

:d  .,d 

d 

:d 

:d 

.,d 

S 

:s  :s 

d     :  — 

:d  .d 

s 

:  PI 

:s 

1 

:1 

:t 

d' 

:d' 

r 

:t  .d' 

:r'  .t 

PI 

:d 

:  PI 

f 

:f 

:f 

PI 

:  n 

f 

:r  .PI 

:f  .r 

bright 

in 

the 

sun's 

ear 

-  liest 

ray, 

And 

hark  I  'tis  the 

merry 

zeph  - 

yrs 

are 

scorch'd  by 

the 

day, 

And 

come,  follow. 

as  the 

di 

;s 

:d' 

d' 

:r' 

:r' 

d' 

-  :d' 

t 

:s  .s 

:s  .8 

d 

d 

:d 

f 

:r 

:s 

d 

:d 

S 

:S|.S| 

:8|  .S| 

J.  EL  Tknnes. 

1  :1  .t  :d'  .1 
f      :f  .8  :1  .f 

haste  for  the  mom  is( 
haste  for  tho  morning  i 


d' 


:d'.d':di  .d' 
:f  .f  :f  .f 


:  8 


:  PI 

R      :  PI  :d 

hnn  -   ter  whose 

deer     leaps  from 

8  :  d'  :  s 
d      :d  :d 


f 

:r  .PI  :f 

.r 

PI    :  — 

:& 

1     :1  .t  :d'  .1 

8     :  PI 

:8 

1  .r':d' 

:t 

d'    :  — 

r 

:t|.d  :r 

•t, 

d    :  — 

:  PI 

f     :f  .8  :1  .f 

PI  :d 

:  PI 

f  .f  :n 

:r 

PI     :  — 

horn 

far  a-wav 

we 

hear, 

Then 

come,  hasten  to  the 

mountain, 

The 

summit  now 

is 

near. 

sleep 

in  his  sh£ 

idy 

bed. 

A   -  - 

waked  by  the  hunter's 

horn. 

Who  e'en 

now  has  past 

him 

fled. 

8 

:s  .8  8 

.8 

8     :  — 

:d' 

d'  :d'.di:d'.di 

d<  :s 

:d' 

d'.l  :s 

:s 

8     :  — 

S| 

:8|.8|  8| 

.S| 

d    :  — 

:d 

f     :f  .f  :f  .f 

d  :d- 

:d 

f  .f  :8 

:si 

d  :— 

KEY  F. 


ARLINGTON.   C.  M. 


Db.  Abne. 


;d 

PI 

.,pi  :pi 

:r 

d  .,d  :d 

r 

PI 

.8  :f 

:  PI 

PI 

:r 

:d 

d 

.,d  :d 

:t, 

li  .,1.  :li 

d 

.d  :t, 

:d 

d 

1.  Am 

I 

a     sol    -  - 

diet 

of   the  cross 

A 

follower  of 

the 

lamb, . 

2.  Must 

I 

be  car   -  - 

ried 

to   the  skies 

On 

flowery  beds 

of 

3,  Sure 

I 

must  fight 

if 

I   would  reign. 

In   -  - 

crease  my  cour  - 

age. 

Lord, . . 

:  PI 

8 

.,8  :8 

:f 

PI  .,Pi  :pi 

:s 

8 

.PI  :f 

:s 

8 

:d 

d 

.,d  :d 

:8| 

ll  :li 

'  :s| 

d 

.PI  :r 

:d 

S| 

:f 

PI 

.,n  :pi 

:1 

8    .,8  :8 

:d 

r 

.f  :pi 

:r 

d 

:r 

d 

.,d  :d 

:d 

d  .,d  :d 

:s, 

ll 

.r  :d 

:t| 

d 

And 

shall  I  fear 

to 

own  his  cause. 

Or 

blush  to  speak 

his 

name  ? 

MTiile 

oth 

-  ers  fought 

to 

win  the  prize. 

And 

sailed  thro'  blood 

-  y 

seas. 

I'U 

bear  the  toil. 

en   -  - 

dure  the  pain, 

Sup   -  - 

port-ed  by 

thy 

word. 

:s 

S 

.,8  :s 

:f 

PI  .,Pi  :  PI 

:s 

f 

.1  :8 

:f 

PJ 

:si 

d 

.,d  :d 

:fi 

d  .,d  :d 

.r,  :8| 

:8| 

d 

68 


THIRD  STEP. 


KXT  C.    M.  104 


LOUD  THEOUQH  THE  WOELD  PEOCLAIM. 


0.  HxnmNO. 


s     :n  .,r| d  :n 

s     :in  .ji'ld  :m 

Lond  thro' the  world  pro  - 

s     :pi  .,r|d  :m 

8     :  PI  .,r|  d  :  m 


s 
s 

claim 
S 


s      :  — 


a 
D 

•HI 
•  u 

:1 

f  1 
1 

* 

1  m> 

•rl 

m 

:in 

|s 

:f 

1 

1  s 

:f 

no  - 

-  van  B 
• 
• 

high 

-  est 

■ 

• 

prad 

Bes, 

Je  - 

• 
• 

d' 

It 

d' 

:d' 

n 

r 

m 

:n 

high 

est 

prai 

-  Bes, 

S 

S 

S 

:s 

• 

S 

8| 

d 

:d 

:f 

t 

r 

•  „, 

f 

rn 

1  s 

t, 

r 

:r 

d 

1  m 

:d 

an 

gels 

a  - 

dore; 

Bow 

-  ing 

• 

• 
• 

d' 
m 

ho 


PI 

d 

low 


:d' 

t 

:r' 

Id' 

:t 

d' 

:d'  1 

:s 

:pi 

r 

:f 

In 

:r 

n 

-    1 

:n  1 

:m 

Je  . 

ho 

-    vah's    high  - 

est 

prai 

-  ses, 

Je  - 

:s 

S 

:s 

Is 

:s 

8 

:8  1 

• 

:d 

S 

:s 

Is 

:s 

d 

:d  1 

• 

:m'  1 

r' 

:t 

d'    :  — 

t 

|d'  : 

s 

1    :  — 

t 

|r>  :- 

:s  If 

:r 

PI    :  — 

1  n  : 

tn 

f    :  — 

If  :— 

-  vah's  high 

-  est 

prai 

ses. 

Je  - 

ho 

vah's 

: 

d' 

d'   :  — 

U  :- 

:  1 

d 

f    :  — 

If  :- 

:  1 

s 

:n 

n    :  — 

If  : 

1 

8     :  — 

|s    :  m 

:  1 

m 

:d 

d    :  — 

|r  :f 

m    :  — 

|pi  :d 

:  1 
: 

Bow 

low 

at 

his 

throne, 

: 

with  the 

1  : 
1  : 

:-  If 

:1 

T 

8     :  — 

1  s  :s 

1    :  — 

It  :t 

:- 

r 

:f 

n  :— 

1 1^ 

n 

f    :  — 

If  :f 

: 

at 

his 

throne, 

with 

the 

an 

gels    a  - 

1  : 

: 

1  : 

:-  I- 


d' 

dore; 

PI     :—  I 


pi'  :— 

|Pl' 

f 

:f'  .f'lr' 

:r'  .r' 

d' 

Id' 

:f' 

For 

he 

liv  . 

eth  and  reign 

-  eth  for- 

ev 

er 

and 

8 

Is 

1 

:1  .1  {s 

:s  .8 

m 

:f  .8 

11 

:1  .1 

For 

he 

liv  ■ 

eth  and  reign 

-  eth  for- 

ev  ■ 

er  for 

-  ev 

er  and 

d'     :— ■ 

Id' 

d' 

:d'  .d'|t 

:t  .t 

di 

Id' 

For 

he 

Uv  ■ 

■   eth  and  reign 

-  eth  for- 

ev 

er 

and 

d     :  — 

id 

f 

:-  Is 

:s 

d 

:r  .ni 

If 

:f  .f 

For 

he 

Uv 

-  eth 

and 

reign-eth  for 

-  ev  • 

■   er  and 

THEBD  STEP. 


di  :d' 
m  :n 

prais  -  ea, 

s  :s 
d  :d 


:r' 

1 

n'  :- 

1- 

:d' 

s 

:  — 

1- 

:s 

1 

rf'.r' 

Id' 

:t 

ev  - 

er, 

S 

:s 

1  :m 

s      :  — 

1- 

:s 

m 

:  — 

1- 

:  n 

f 

:1 

1  s 

:f 

ev  - 

er, 

Be  - 

joice. 

re  - 

joice. 

re  - 

joice, 

and 

praise 

his 

d' 

:t 

1  : 

:d' 

1.8 

:  n 

d' 

:  — 

1  — 

:d' 

d' 

:r' 

|m' 

:r' 

ev 

xie 

re  - 

joice. 

s 

:s 

1  . 

-  j|oice, 

:s 

[n 

:d 

f 

1  s 

.  

ev  - 

er, 

Be  - 

-  joice, 

and 

praise 

his 

t  7> 

d' 

1  —    •  s 

n'    :  — 

1 

:d' 

S 

1  — 

:  S 

1 

:fLri 

1  d' 

:t 

m 

1            •  m 

o  •  

o  • 

1 

a  O 

m 
I'l 

1  

f 

:1 

1  ^ 

name, 

Be  - 

joice. 

re  - 

joice, 

re  - 

joice, 

praise 

his 

di 

J) :  a' 

:  m 

a' 

1 

.  J 1 

:a' 

d' 

:r' 

1  m' 

:  r' 

Be  - 

joice, 

re 

joice. 

d 

;  

1  ~~  * 

1 

V 

:s 

Im 

:d 

f 

1  s 

._ 

name 

Be  . 

-  joice, 

and 

praise 

his 

d< 

/ 

t 

;  

,  : 

s     :fn  .,r 

Id 

:m 

s 

1- 

:d' 

t 

:r' 

Id' 

:t 

m 

s      :  m  .,r 

Id 

:  m 

s 

:  n 

r 

:f 

1 

:r 

name, 

Loud  thro'  the  ■world 

pro  - 

claim 

Je  - 

ho  - 

vah's 

high  - 

est 

d' 

s      :  ni  .,r 

Id 

:  m 

S 

1- 

:  s 

S 

:s 

1  S 

:s 

d 

s     :n  .,r 

Id 

:pi 

S 

1- 

:d 

S 

:s 

i|s 

:& 

:  s 
:m 

Be 


s 

joice, 


;—     I—  :d' 


:d' 

Be 


I—  :s 

re 

I  s      :  m 

joice,  re 


t 

s 

i- 

:s 

1 

:f'  .r' 

Id' 

:t 

m 

1- 

:  m 

f 

:1 

1  s 

:f 

joice, 

re  - 

joice. 

and 

praise 

his 

di 

1- 

:di 

d' 

1  Pi' 

:r' 

joice. 

:s 

jn 

:d 

f 

1  S 

Be  - 

joice, 

and 

praise 

his 

t 

f 

d' 

1—  :d' 

d' 

1-  :d' 

d'    :  — 

1- 

:f' 

m'  :  n' 

|r'  :r' 

d'    :-  1- 

Je- 

ho 

vah 

reigns, 

Be  - 

joice  and 

praise  his 

name. 

m   :  — 

1-  :n 

f 

:f 

If  :pi 

f  :f 

|f 

:1 

s  :s 

Is  :f 

m    :-  1- 

nff^e, 

Je  - 

ho  - 

vah 

reigns,  Je  - 

ho  -  vah 

reigns. 

Be  - 

joice  and 

praise  his 

name. 

d'  :  — 

1-  :s 

1 

:1 

11  :s 

1  :1 

11 

:d' 

d'  :d' 

It  :t 

d'   :-  1- 

<3    :  — 

(-  Id 

f 

:f 

If  :d 

f  :f 

If 

:f 

s  :s 

|S|  :s, 

d    :-  1- 

70 


'I'mkD  STEP. 


Key  Ab. 


ASCRIPTION.   S.  M. 


C'HESTEB  Q.  At.t.ibi, 


:8, 

n 

•  * 

.8   :d  . 

PI 

r 

• 

:n 

li 

:-  .f   :m  .r 

d 

:8, 

:n, 

8| 

.8|  :d  .d 

tl 

:8| 

fi 

:-  .1|   :si  .Si 

S| 

:mi 

1.  0 

bless 

the  Lord,  my 

soul. 

His 

grace 

to     thee  pro- 

claim. 

And 

2.  The 

Lord 

for  -  gives  thy 

sins, 

Pro  - 

longs 

thy  fee  -  ble 

breath. 

He 

3.  Then 

bless 

his  ho  - 

ly 

name, 

Whose 

grace 

hath  made  thee 

whole, 

Whose 

:d 

d 

8 

8 

• 

:8 

d 

:-  .r   :s  .f 

n 

:d 

•A 

A 
U 

• 

•d   t  n  . 

d 

a. 

• 

,a.\ 

•      'II    •»!  .S| 

d, 

•A 

8| 

t  _ 

:8|  .d 

PI 

.d 

:r 

:8 

8 

:-  .n  :d 

•  r 

d 

Pl| 

.fi 

:ini  . pij 

S| 

.8, 

:8, 

:si 

8| 

:-  .8|  :S| 

.S| 

S| 

• 

aU 

that 

is  with- 

in 

me 

join 

To 

bless 

his     ho  - 

ly 

name. 

heal 

eth 

thine  in  - 

firm  -  i  - 

ties, 

And 

ran 

soms  thee 

from 

death. 

lov 

ing 

kind  -  neas 

crowns  thy  days, 

0 

bless 

the  Lord,  my 

sonl. 

d 

.d 

:d  .d 

d 

.d 

:t, 

:r 

n 

:-  .d  :n 

.f 

m 

• 

d, 

• 

.d, 

:d,  .d, 

d, 

:8, 

:t, 

d 

:-  .d  :8| 

.8, 

d, 

• 

DENNIS.   S.  M. 

KEX  F.  Naqzll 


m  :d 

:pi 

r  :t, 

:r 

d  :- 

:d 

d  :1, 

:d 

d  :S| 

:d 

ti  :- 

:r 

:d 

d  :S| 

:d 

t|  :8| 

:8| 

8,  :— 

:si 

li  :fi 

:li 

S|  :mi 

:s, 

8,  :— 

:t, 

1.  How 

gen 

tie 

God's 

com- 

mands. 

How 

kind 

his 

pre 

cepts 

are! 

Come, 

2.  Be  - 

neath 

his 

watch 

fal 

eye 

His 

saints 

se  - 

cure 

ly 

dwell; 

The 

3.  His 

good 

nesB 

stands 

ap  - 

proved, 

Un  - 

changed 

from 

day 

to 

day; 

ru 

:8 

8    :  m 

:8 

s  :r 

:f 

n    : — 

:in 

f  :d 

:f 

n  :d 

:m 

r    : — 

:8 

:d 

d  :— 

:d 

8,    :  — 

:8| 

d    :  — 

:d 

:fi 

d    :  — 

:d 

8|  :— 

r  :t, 

:r 

d    :  PI 

:s 

8 

:r 

:f 

PI  :8 

:1 

8  : 

PI 

:f 

PI 

:d 

:r 

d 

t|  :8| 

:8| 

S|  :d 

:d 

t| 

:r 

d    :  — 

:d 

d  : 

:d 

d 

:s, 

:S| 

S| 

cast 

yonr 

bur  - 

dens 

on 

the 

Lord, 

And 

trust 

his 

eon 

stant 

care. 

hand 

which 

bears 

aU 

na 

tare 

up. 

ShaU 

guard 

his 

chn 

dren 

well. 

drop 

my 

bur  - 

den 

at 

his 

feet, 

And 

bear 

a 

song 

a  - 

way. 

8  :r 

:f 

PI  :8 

:n 

r 

:s 

:s 

8  :m 

:f 

PI  : 

8 

:1 

S 

:n 

:f 

PI 

8,    :  — 

:8, 

d    :  — 

:d 

8| 

:8i 

d  :- 

:d 

d  : 

:f. 

S| 

:8| 

d 

THIED  STEP. 


71 


Syncopation  is  th*  anticipation  of  accent.  It  requires 
•n  accent  to  be  struck  oefore  its  regularly  recurring  time, 
changing  a  weak  pulse  or  ffeak  part  of  a  pulse  into  a  strong  one, 


{| 

II 

II 
II 

II 
II 

II 
II 

II 

II 

II 
11 


Ex.  169. 
1  :T 

TAA  TAA 

Ex.  170. 
1  .T 

TAA  TAI 


I 

TiA 


1 

TAI 


1  :1 

TAA  TAA 


1  .1 

TAA  TAI 


Ex.  171.   ixr  C   rtound  in  two  parts. 

s     :T    I-    :8      11  :T 

Come  now,  oh,      I  come  now, 


* 

m 

Yes, 


\m 

we're 


f 

com 


Ex.  172.   HEX  C.   Round  in  two  parts. 

r   :—    \T    :—    in"    :  — 


No, 

—  :r 

yes. 


no. 


no, 


I 


yes. 


:t 

yes. 


Ex.  173.   KEY  C.    Bound  in  two  parts. 

d'    .di"    :-     .t      II  A 

Come  now. 


O 


PI    .  n     :  m 

No,      no,  no. 


come  now, 

f  .f 

no,  no, 


Ex  174,   KBT  F.   Round  in  three  parts. 


I  — 


If 

ing 


|r 

no, 


:f 

no. 


n 

CaU 


fast 

d 

oars 


:n   .,f  U 

John  the  I  boat 


:m  .,r 

falls    the|  rain. 

:d  .d  Id 

.  are    at   I  rest. 


:d 

man. 


m 

call 


:1 

TAA 


.1 

TAI 


:1 

Or 


and  the  immediately  following  strong  pulse  or  part  of  a  pulse 
into  a  weak  one.  It  must  be  boldly  struck,  and  the  strong 
accent  on  the  immediately  following  pulse  must  be  omitted. 


1 

TAA 


:1  I- 

TAA 


t 

we 


S 

right 


d' 

no. 


:t  I- 

shall 


:~  It 

no. 


:1 

yes, 


.8 

Or 


.  n 

And 


:r  .,d 

him    a  - 


f 

we 


:s 

yes. 


.  n  :r 

shall  be 


r  .di 

you,  too. 


r 

gain, 


:1 

TAA 


:1 

TAA 


1      .1      :1  .1 

TAA       TAI  TAA  TAI 


:t 

be 


d'  :d' 

late,  I 

d  : 

long. 


1 

no, 


:f 

yes, 


:f 

yes. 


.f 

too 


PI 

late; 

d' 

must   I  wait 


1 

TAA 


:1 

TAA 


1      .        :1  . 

TAA        8A1         TAA  8AI 

T.  F.  S. 


Id' 

fear. 


:-  is 

no. 


:m 

yea. 


I  PI 

yes. 


;-   .d  |n 

For  I  loud 


:s   .1  Is 

roars  the  I  tern 


:n  .d  I 

pest  and  | 


.d  :d  .d 

John  is     a  - 


:d   .d  In 

and   his  |  boat 


:s  .,f 

is  a 


8  .8  :-   .1  It 

rap-id  and  |  deep; 


.8, sis  .s    :pi  .f 

Butthel  louder     you  call 


1^ 

:-  .d 

Id 

:t,  . 

1' 

s, 

•t,  I 

His  ) 

1  sleep. 

he 

1  sleeps 

ve  - 

ry 

sound. 

IPl 

:s 

I- 

:d 

•»r 

PI  .  PI  : 

.d  t 

-1  ground. 

Loud 

roars 

the 

riv  -  er, 

so  ) 

1  ^ 

:     .  PI 

Is  .S 

:s, 

.,S| 

d  : 

! 

1  John, 

the 

1  sounder 

he 

wiU 

sleep. 

72 


THIED  STEP. 


T.  F. 

KET  G. 

:d  ., 
:d 

\1.  Hear 
J2.  Hear 


S. 
M. 

S| 

S| 

the 
the 


HEAE  THE  WARBLING 

NOTES. 

T.  P. 

SXWABD. 

100. 

n, 

.8, 

:d  .r 

PI 

:d 

:d  .t, 

1. 

.d 

:t,  .li 

nil 
'  '1 

.Si 
•"1 

:d  .r 

m 

:d 

:d  .t| 

1, 

.d 

warb 

ling 

notes  of 

Bpring  - 

time, 

From  the 

gay 

and 

cheer-ful 

ech 

oes 

as  they're 

ring   -  - 

ing 

Far  and 

near, 

o'er 

hill  and 

tn 

•  n 

:  n 

PI  .n 

:  n 

f 

:f 

.1 

:8  .f 

La 

la 

la 

la  la 

la 

La 

la 

la 

la  la 

d 

.d 

:d 

d  .d 

:d 

f) 

La 

la 

:fi 

la 

• 

throng, 
dale 

S, 


d 

song, 
gale. 

d 

la. 
PI 

d 


d  .,S| 

Ev  -  ery 
Let  us 

d  .,si 


:8  .,1 

La  la 


:d 

La 


,d 

la 


pii  :- 

voice 
join 

PI)  :- 

PI   .R  J  PI 

La    la  la 

d   .d  :d 


;d  .,d 


8  .r 

la  la 


:r 

la 


t|  .t|  :t| 

la  la  la 

r  .8  :s 

Si  .S|  :S| 


.8|  :d  .r 

is  filled  with 
them  with  our 

.S|  :d  .r 


:s 

la 

:t, 

la 

:r 
:si 


'i 
.,t, 

la 


m  :d 

glad    -  ness, 

sing   -  tug, 

PI  :d 

La    la  la 

PI    .PI  :  PI 

d    .d  :d 


s  .PI  :n 

la  la  la, 

d  .d  :d 

la  la  la, 

PI  .s  :s 

d  .d  :d 


:d  .,t, 

Let  us 
Send  -ing 


1,   .1  :1  .8    :f  .r 

join  their  hap-py,  hap-py 


:8  .,1 

;Hear  the 

:d  .,d 

Hear  the 


:  PI 
:d 


.,pi 
.,d 


out  our  songs  on 

ev 

-ery 

1|  . 

:t,  . 

:t, 

.t, 

La 

la 

la 

la 

f 

:r 

:r 

.f 

:8, 

:8, 

.81 

s  .T 

:-  .1 

:s 

.f 

ech-oes 

t,  .r  :- 

ech-oes 

8  .t  :- 
S|  .8,  :- 


so  gai  -  ly 

.f  :pi  .r 

so  gai  -  ly 

.1  :8  .f 

.8,  :1|  .t| 


f  .PI  :n 

:d 

ring  -  ing, 

f  .R  :  PI 


:8 

.,1 

S 

.r 

:r 

:8 

.,1 

s 

.PI 

:  PI 

:s 

.,1 

8  .t  ,1 :8  .s,f  :pi 

.r 

d 

:d' 

:d 

.,d 

t| 

.t, 

:t| 

:t, 

.,t, 

d 

.d 

:d 

:d 

.,d 

t|.r,d:ti.t|,r  :d 

.t, 

d 

:d 

La 

la 

la 

la 

la 

la 

la 

la 

la 

la 

la 

la 

la  la  la  la  la  la  la 

la 

la 

la 

:pi 

.,P1 

r 

.8 

:s 

:r 

PI 

.8 

:s 

:n 

.,P1 

8  .8  ,8  :8  .8  ,8  :8 

.f 

PI 

:pi 

:d 

.,d 

•S| 

:si 

:si 

.,S| 

d 

.d 

:d 

:d 

.,d 

8|.8|,S|  :8|.S|,8|:S| 

.81 

d 

:d 

KET  E.    M.  160. 


COME,  LET  US  ALL  BE  MERRY. 


Arranged,  and  new  words. 


/.d,r 

PI  .  PI 

:pi  .8 

s    .f  : 

.  r,n 

f  .8 

:1  .t 

d'  . 

s  : 

.  n,f 

8 

.8 

:8 

.1 

i  .d£ 

PI  .  PI 

:pi  .8 

8    .f  : 

.r,pi 

f  .8 

:1  .t 

d'  . 

s  : 

d 

PI 

.  PI 

:pi 

.f 

Jl.  Come 
<2.  A  - 
)3.  So 

let  us 
way  with 
when  the 

aU  be 
all  the 
clouds  are 

mer  -  ry, 
tra  -  ceg 
low'r-ing, 

For 
Of 

Then 

griev-ing 
sad  -  ness 
let  us 

is  a 
gloom  and 
laugh  the 

fol  - 
sor  - 
stron 

ly 

row; 
g-er, 

AU 
If 

Fo. 

care 

we 

thnr 

and 
all 

troD 

wear 

care 

-  ble 

long 
o'er- 

d,r 

PI    .  PI 

:n  .8 

s    .f  : 

.r,pi 

f  .8 

:1  .t 

d'  . 

s  : 

<  S 

d' 

d' 

.d' 

.di 

^  d,r 

PI    .  PI 

:m  .8 

8    .f  : 

.r,pi 

f  .8 

:1  .t 

di  . 

8 

.d 

d 

.d 

:d 

.d 

'I'mkT)  STEP. 


73 


s    .m  : 

.d' 

t  ,1.8  ,f  :m,r.d,t| 

r  .d  : 

PI  *.d  : 

.n 

s  ,f.n,r  :d,t|.l|,S| 

t,  .d  : 

ba  -  ry 

And 

while  we    live  be 

jol  -  ly. 

fa  -  ces, 

Let's 

keep  them  for      to  - 

morrow. 

pow-'ring, 

We'U 

sure  -  ly     last  the 

longer. 

d>  .8  : 

.8 

s    .8,1  : 8  .r 

f  .n  : 

d  .d  : 

.8 

r    .m,f  :s  .S| 

S|  .d  : 

.,1 

r,r  .r  :r 

.8 

PI  . 

8 

.PI 

jolly  old  world 

you 

know. 

t|    .t|  :t| 

•t| 

d  . 

:  m 

.,f 

PI  .d 

ha    ha  ha 

ha 

ho. 

All 

be 

hap-py, 

s    .s  :s 

.S 

S  . 

:s 

.,dl 

di  .8 

S|  .S|  :S| 

.S| 

d  . 

:d 

.,d 

d 

.d 

.,1 

:d' 

s    .  :d' 

S  .PI 

.,1 

S  .PI 

PI    .  :1 

.,f 

PI  .d 

:1 

.,f 

PI  .d 

go;  All 

be 

bap-py, 

all 

be 

mer-ry, 

d'  .  :d' 

.,dl 

di  .8 

:di 

.,dl 

d<  .8 

d    .  :f, 

d  .d 

:fi 

.,f| 

d  .d 

Modifications  of  Mental  EfiFect.  Thus  far  we  have 
studied  the  mental  effect  of  tones  when  sung  slowly.  All  these 
affects  are  greatly  modified  by  pitch,  by  harmony,  by  quality  of 
tone,  but  chiefly  by  speed  of  movement.  Highness  in  pitch 
favors  the  brightness  and  keenness  of  effect,  makes  ray  more 
rousing,  and  te  more  piercing.  Lowness  in  pitch  favors  the 
depressing  emotions,  makes  fah  more  desolate,  and  lah  more 
sad.  Quick  movement  makes  the  strong  tones  of  the  scale 
(d  m  s)  more  bold,  and  the  emotional  tones  (r  f  1  t)  gay  and 
lively.  Let  the  pupils  sing  any  exercise  containing  fah  and  lah 
very  slowly  indeed,  and  notice  how  their  mental  effects  are 
brought  out.  Then  let  them  sing  the  same  piece  as  quickly  as 
they  can,  keeping  the  time  and  observing  the  change.  Fah  and 
lah  are  now  gay  and  abandoned  instead  of  weeping  and  desolate 
in  their  effect,  and  the  other  tones  undergo  a  similar  modifica- 
tion. The  tune  Manoah  wiU  afford  a  very  good  illustration. 
Let  it  be  sung  first  very  slowly  and  then  very  quickly.  Let  the 
pupils  try  in  the  same  way  other  tones  which  are  deemed  most 
characteristic. 

Key  G. 

:d.r|m    :—    :r     |d    :—    :t,     |t,    :—   :1,  } 
11,    :—  :r.Pi|f    :—  :in   |r    :—  :d    |d    :—  :— } 
'  |t|  :—  :S|    |m  :—  :r    |f    :—  :m   |1    :—  :in  } 
'8  :f  :r   Id  :— :s,  |  m  :— :r  |d  |— :— H 


• 

CHOEUS. 

.d.r 

With  a 

•  • 

PI  .m 

ha  ha 

d  .d 

• 

:pi  .r 

ha.  An 

:d  . 

• 

f 

ho 

t, 

• 

.f 

ho 

•t, 

• 

:f 

ho, 

:t, 

•Tisa 

ha  ha 

ha. 

ho 

ho 

ho. 

t 

o      .  o 

d  .d 

;g  , 

:d  . 

g 

r 

c 

.  0 

.r 

:r 

• 

:di" 

.,1 

8 

.PI 

:r  .r 

8 

.f 

:  PI 

:  PI 

All 

:8 

.,f 

be 

.,dl 

PI  .d 

mer-ry, 

d'  .8 

:t,  .t, 

Let's  be 

:8  .8 

t, 

Jol 
8 

.t, 

•  ly 

.8 

:d 

as 

:s 

.,r  I 

we  / 
.,8 

:d 

.,d 

d 

[  .d 

:si  .8, 

S| 

.8, 

:d 

.,d  ^ 

:f 

.1 

8  .f 

:  PI 

.r 

d 

:d  .r 

broth-ers 

:1  .f 

PI   .r     :  d 

all,  both  friend 

8    .1  :s 

.t, 

and 
.f 

d 

foe. 
PI 

:ft  .f. 

PI,  .f| 

:8> 

.8, 

d 

"  Elementary  Rhythms  "  required  for  the  time  exer- 
cise of  the  Elementary  Certificate,  should  be  carefully  taught  by 
the  teacher  and  diligently  practiced  by  the  pupOs  at  home. 


Modulator  Voluntaries,  Ear  Exercises,  Pointing 
and  Writing  from  Memory  are  still  to  be  practiced  at  every 
lesson.  The  exercises  becoming  more  and  more  difficult  as  the 
pupils  gain  facUity.  The  voluntaries  wiU  now  include  la-ing  as 
well  as  solfa-ing,  to  the  teacher's  pointing.  A  few  two-part  Ear 
Exercises,  as  in  "Hints  for  Ear  j^xercises,"  can  now  be  wisely 
introduced,  but  only  to  quick  and  observant  classes.  To  others, 
each  "part"  of  the  exercise  wiU  serve  as  a  separate  exercise. 

Examinations  for  the  Certificate  may  begin  six 
weeks  before  the  close  of  the  term.  All  the  requirements  need 
not  be  done  at  one  interview  ;  as  soon  as  a  pupil  is  prepared  in 
any  one  requirement,  he  may  be  examined  in  that,  but  aU  the 
requirements  must  be  done  within  six  weeks,  or  else  the  exami- 
nation begins  again.  The  examination  may  be  conducted  be- 
fore the  whole  class,  or  in  private,  as  suits  the  convenience  of 
the  teacher  and  pupils. 

For  instmctions  in Foice  Training,  Breathing,  Harmony,  etc.. 
belonging  to  this  step,  the  teacher  will  oonstilt  the  Stfoidard 
Course. 


T4 


TFTTRT)  STEP. 


QUESTIONS  FOE  WEITTEN  OR  ORAL  EXAMINATION. 


I.  W  hat  tw»  new  tones  have  you  learned  in  this 

I.  Setweea  what  two  tones  does  Fdh  come) 
S.  Between  what  two  tones  does  Lah  come  ? 

4.  What  is  the  relative  position  of  Fall  to  Doht 

5.  What  is  the  relative  position  of  Lah  to  jDoA  I 

6.  What  ia  the  mental  effect  of  FoA?  Of  Ldht 
1.  What  is  the  monnal  sign  for  Fdk  f  Por  Lcih  ? 

8.  What  chord  is  formed  of  the  tones  f  1  d  I 

9.  What  is  the  aeries  of  tones,  d  r  m  f  ■  1  t  d', 

called? 

M.  Which  is  the  fifth  tone  of  the  soaleT  The 
third?  The  sixth f  (The  teacher  will  sup- 
ply additional  qnestions,  and  also  qnestlonB 
on  the  mental  effects  and  hand-signs.) 

11.  Each  tone  of  the  scale  differs  from  the  others, 

in  wha$f 

12.  What  is  meant  by  "  pitoh  V 

13.  What  is  the  eighth  tone  above  or  below  any 

given  tone  called  t 

14.  How  is  the  octave  above  any  tone  indicated  In 

the  notation! 

15.  How  is  the  octave  below  indicated  t 

16.  How  is  the  second  octave  indicated! 

17.  Which  are  the  strong,  bold  tones  of  the  soalet 

18.  Which  are  the  leaning  tones  ! 

19.  Which  two  i/aaea  have  the  strongest  leaning 

or  leading  tendency! 

20.  To  what  tone  does  t  lead! 
SI.  To  what  tone  does  f  lead! 

tS.  What  Is  the  most  important,  the  strongest,  the 

governing  tone  of  the  scale  called  f 
3.  What  is  a  family  of  tones,  consisting  of  a  key- 
tone  and  six  related  tones,  called! 

•4.  When  the  tones  of  a  key  are  arranged  in  sne- 
oessive  order,  aaoendijig  or  deBoeadiiig,wbat 
do  they  make! 


DOOTEINE. 

25.  Must  the  scale  always  be  sung  at  the  same 

pitoh  or  may  it  be  sung  at  different  pitehes  ? 

26.  What  is  the  name  of  that  scale  from  which  all 

the  others  are  reckoned? 

27.  What  is  the  name  of  the  pitoh  that  is  taken  as 

the  key-tone  of  the  Standard  Scale? 

28.  Name  the  pitehes  of  the  Standard  Scale  ? 

29.  What  pitoh  is  Soht    Sayt    Laht  (The 

teacher  will  supply  similar  qnestions.) 

30.  In  the  absence  of  a  musical  instrument,  how 

may  the  correct  pitoh  of  the  Standard  Soale 
be  obtained! 

31.  From  what  Is  a  scale  or  key  named! 

33.  How  are  the  different  keys  Indicated  in  the 
notation  I 

33.  What  is  the  difference  of  pitoh  between  the 

Voices  of  men  and  the  voices  of  women ! 

34.  What  is  the  name  of  the  pitoh  that  stands 

about  the  middle  of  the  nsual  vocal  com- 
pass ! 

35.  Is  middle  O  a  high  or  a  low  tone  in  a  man's 

voice! 

36.  Is  It  a  high  or  a  low  tone  in  a  woman's  voice! 

37.  What  are  the  high  voices  of  women  called! 

38.  What  is  the  nsual  compass  of  the  Soprano! 

39.  What  are  the  low  voices  of  women  called! 

40.  What  is  the  nsual  compass  of  the  Contralto ! 

41.  What  are  the  high  voices  of  men  called! 
43.  What  is  the  nsnal  compass  of  the  Tenor! 

43.  What  are  the  low  voices  of  men  called! 

44.  What  is  the  osnal  compass  of  the  Base ! 

49.  From  what  octave  of  the  Standard  Scale  Is  the 
pitch  of  the  key-note  of  any  key  taken! 


1 

46.  How  is  this  tone  and  the  six  tones  above  ll 

marked  ? 

47.  In  the  Key  O  the  unmarked  G  of  the  Standard 

Scale  is  doh,  what  is  the  unmarked  A !  Th* 
unmarked  E? 

48.  How  would  that  lah  be  marked ! 

49.  With  what  octave  marks  are  the  Base  and 

Tenor  parts  written  ? 

50.  How  is  the  exact  rate  of  movement  of  a  tune 

regulated! 

51.  What  does  M.  60  indicate? 

52.  How  is  the  rate  of  ver^  qulek,  sli-pnlse  meas- 

ure marked  ? 

53.  What  is  the  time-name  of  a  silence  on  the  first 

half  of  a  pulse!   On  the  second  half! 

54.  How  are  half-pulse  silences  indicated  in  the 

notetion  ? 

55.  What  is  the  time-name  of  a  pulse  divided  into 

two  quarters  and  a  half? 

56.  How  are  they  indicated  in  the  notation  ? 

57.  What  is  the  time-name  of  a  half  and  two  quar- 

ters! 

58.  How  are  they  indicated  In  the  notation ! 

59.  What  is  the  tune-name  of  a  pulse  divided  into- 

a  three-quarter-pulse  tone  and  a  quarter! 

60.  How  are  they  indicated  in  the  notation ! 

61.  What  is  syncopation  ! 

63.  What  is  its  effect  upon  a  weak  pulse,  or  weak 
part  of  a  pulse? 

63.  What  is  its  effect  upon  the  next  following 

strong  pulse? 

64.  By  what,  chiefiy,  is  the  mental  effect  of  tones 

modified ! 

65.  How  does  a  quick  movement  effect  the  strong 

tones  of  the  scale!   The  emotional  tones! 


06.  Sing  from  memory  the  pitch  of  d'  of  the  Stand- 

tSi  Scale,  and  sing  down  the  scale. 

67.  Strike,  from  the  tuning  fork,  the  pitoh  of  dl  of 
the  Standard  Soale,  and  sing  down  the  scale, 

as  above. 

(8.  Pitoh,  from  the  tuning  fot^  Key  D — O— A— F. 

69.  Sin^lto  la  the  Fak  to  any  DoX  the  teaeher 

gives. 

ro.  Ditto  .niA,.  Ditto  XoA.  Ditto  Z<l^.  Ditto  any 
of  the  tones  oi  thr  scale  the  teaobar  may 

choose. 

Tl.  Taatai,  with  aoo«Bl  r  Xvar-palse  nwasur*.  at 
the  ptte-o'  Sf.  W  Aom  mcBMry.  At  ths 
rate  of  *C  ISO. 


PRAOnOE. 


IS.  Taatai,  with  accent.  firar-pnIs&jneasQjes. 
sustaining  the  rate  of  M.  60.  Tho  Iate^of 
M.  130. 

73.  Taatai,  from  memory,  any  one  of  the  Exs.  157 

to  160  and  163  to  165,  chosen  bv  the  teacher, 
the  first  measure  b^g  named. 

74.  Taatai  on  one  tone  any  one  of  the  Exs.  166 

to  168,  chosen  by  the  teacher. 

li.  Taatai,  in  tune,  any  one  of  the  Bxs.  167,  168, 
173,  chosen  by  the  teacher. 

76.  Follow  the  examiner's  pointing,  in  a  new  vol- 
untary containing  all  the  tones  of  the  scale, 
but  no  dlfflcultiee  ef  time  greater  than  the 
iteond  step. 


77.  Point  and  Solf^  on  the  modulator,  from  mem 

ory,  any  one  of  the  following  four  Exercises 
133,  134,  137,  138,  chosen  by  the  examiner. 

78.  Write,  fit>m  memory,  any  other  of  these  four 

Exercises,  chosen  by  toe  examiner. 

79.  Tell  which  is  lah;  which  is  /ah,  as  directed, 

on  page  32,  question  31. 

80.  Tell  what  tone  of  all  the  scale  is  sung  to  lo,  as 

at  page  32,  question  32. 

81.  Taatai  any  rhythm  of  two  four-pulse  measures 

belong  to  the  step,  which  the  examiner  shall 
la  to  yon,  see  page  33,  question  33. 
83.  Taatai,  in  tane,  any  rhythm  of  two  fonr-pnlsa 
measures  belonging  to  this  step,  which  the 
examiner  Solfas  to  you.  See  page  32,  qnes 
tion  34. 


75 


FOURTH  STEP. 


Tht  Intervals  of  the  Scale.  Transition  to  the  First  Sharp  and  the  First  Fdat  Keys ;  Us  process  and  mental  effect  The  tones  Jfc  and 
7b.    Chromatic  effects.    Cadence,  Passing  and  Metended  Transition.    Pitching  Tunes.    Thirds  of  a  Pulse.    Beating  Time. 


The  Intervals  of  the  Scale.  In  the  art  of  singing, 
his  subject  is  not  now  deemed  so  important  as  it  once  was,  for 
attention  is  now  directed  immediately  to  the  character  and 
mental  effect  of  a  tone  in  the  scale,  rather  than  to  its  distance 
from  any  other  tone.  In  an  elementary  class  the  subject  need 
not  be  dwelt  upon — merely  the  main  facts  briefly  presented. 
The  teacher  or  student  who  wishes  an  exhaustive  treatment  of 
the  matter,  is  refered  to  Musical  Theory,  Book  I.,  by  John 
Curwen. 

The  Tonic  Sol-fa  statement  of  the  scale-intervals  is  as  fol- 
lows: 

t  to  d  Little  Step  5  Kommas. 

1  td  t  Greater  Step ...  9  Kommas. 

s  to  1  Smaller  Step. .  .8  Kommas. 

f  to  8  Greater  Step ...  9  Kommas. 

PI  to  £  Little  Step  5  Kommas. 

r  to  PI . . .  .Smaller  Step. .  .8  Kommas. 
d  to  r  Greater  Step. .  .9  Kommas. 

Thna  the  scale  contains  Three  Great  Steps,  Two  Small 
Steps  and  Two  Little  Steps.  The  difference  between  a  Greater 
and  a  Smaller  Step  is  called  a  Komma;  a  Greater  Step  consist- 
ing of  nine  Kommas;  a  Smaller  Step,  eight  Kommas,  and  a  Lit- 
tle Step,  five  Konunas.  Ordinarily,  no  distinction  is  made 
between  the  Greater  and  Smaller  Steps,  they  are  simply  called 
Steps,  and  the  Little  Step  is  commonly  called  a  Half-Step. 

Intervals  are  also  named  Seconds,  Thirds,  Fourths, 
Fifths,  Sixths,  Sevenths,  Octaves,  and  so  on.  The  iuterval 
from  any  tone  to  the  next  in  the  scale  is  called  a  Second;  from 
my  tone  to  the  third  tone  is  called  a  Third ;  to  the  fourth  tone 
Fourth,  and  so  on.  A  Second  that  is  equal  to  a  Step  is  called 
Major  Second;  a  Second  that  is  equal  to  a  Little  Step  is  caUed 
a  Minor  Second.  A  Third  that  is  equal  to  two  Steps  is  called  a 
Major  Third — as  from  d  to  n — f  to  1 — or  s  to  t  A  Third  that  is 
equal  to  one  fuU  Step  and  one  Little  Step  (a  Step  and  a  Half)  is 
called  a  Minor  Third — as  from  r  to  f— n  to  b — 1  to  d— or  t  to  r'. 

Te  and  Fah  are  separated  by  a  peculiar  interval,  called  the 
Tri-tone — equal  to  three  full  Steps— it  is  the  only  one  found  in 
the  Scale.  Thus  f  and  t  become  the  most  marked  characteristic 
tones  of  the  scale.  From  their  mental  effects  t  may  be  called 
the  sharp  tone  of  the  scale,  and  f  the  flat  tone.  We  shall  pre- 
sently see  how  the  whole  aspect  of  the  scale  changes  when  f  is 
omitted  and  a  new  t  put  in  its  place,  ot  when  t  is  omitted  and  a 
new  f  is  taken  instead. 

Transition  is  the  "  passing  over"  of  the  music  from  one 
key  into  another.  (Heretofore  this  has  been  called  modula- 
tion—but in  the  Tonio  Sol-fa  system  modulation  "  has  a  differ- 
ent meaning.)  Sometimes,  in  the  course  of  a  tune,  the  music 
seems  to  have  elected  a  new  governing  or  key  tone;  and  the 
tones  gather,  for  a  time,  around  this  new  key-tone  in  the  same 
relationship  and  order  as  around  the  first.  For  this  purpose 
one  or  more  new  tones  are  commonly  required,  £ind  the  tones, 
which  do  not  change  their  absolute  pitch,  change  nevertheless, 
their  "mental  effect"  with  the  change  of  key-relationship.  To 


those  who  have  studied  the  mental  effect  pf  each  tone,  the  study 
of  "transition"  becomes  very  interesting.  At  the  call  of  some 
single  new  tone  characteristically  heard  as  it  enters  the  music, 
the  other  tones  are  seen  to  acknowledge  their  new  ruler,  and, 
suddenly  assuming  the  new  offices  he  requires,  to  minister  in 
their  places  around  him. 

The  musical  fact,  thus  didactically  stated,  may  be  set  before 
the  minds  of  pupils  in  some  such  way  as  the  following  :  First 
bring  up  the  scale  in  review,  questioning  the  class  as  to  the 
mental  effects  of  the  tones,  the  intervals  and  the  two  most 
marked  characteiistio  tones  of  the  soala.  The  teaohoT  may  then 
say: 

Listen  to  me  while  1  sing  a  tune,  and  notice  whether 
I  stay  in  the  same  key  all  through  the  tune,  or  whether  I 
go  out  of  it  at  any  point. 

Teacher  sings  the  following  example  to  la. 

A.  .     KEl  C. 

{|d      :m      Is       :n      \1       :1       Is       :—  } 

{|8       :s       Id'      :t  .1  |8       :f       |n      :  — 

Did  I  stay  in  the  one  key  all  the  time,  or  did  I  go  oui 
of  it  any  point? 

Listen  again,  and  raise  yonr  hands  when  yoa  feel  the 
key  has  changed. 

Teacher  now  sings,  still  to  la,  example  B. 

B.  KEY  C. 

{Id      :n      Is       :n      jl       :1       |b       :—  } 

{Is      :s       Id'      :t  .1  js       :fe      |s       :—  || 

When  the  teacher  strikes  the  tone  fe  the  pupils  wiU,  with- 
out doubt,  hold  up  their  hands — if  they  do  not,  then  both 
examples  must  be  repeated. 

You  feel  that  the  music  has  "passed  over"  into  a  new 
key.  This  change  of  key  daring  the  progress  of  a  tone  » 
called  Transition. 

It  may  be  well  now  to  repeat  the  two  examples  to  la,  papils 

imitating. 

Let  us  now  learn  what  has  caosed  this  transitioo,  or 
change  of  key.    You  may  sing  (solfa-ing)  as  I  point 

The  teacher  points  on  the  modulator  the  examp 
above. 


76 


FOUETH  STEP. 


Did  you  make  a  transitien  then,  or  stay  in  the  same 
key? 

Try  it  again,  as  I  point 

This  time  he  changes  second  phrase,  thns: 

C.     KEY  C. 

{I  d  :rn  |s  :n  |1  :1  |B  :—  } 
{|B       :s       Id'      :t  .1  Is       :f       |'s       :-  || 

Did  you  make  a  transition  then,  or  stay  in  the  same 
key? 

Listen  to  me. 

Teacher  sings  example  B  to  la,  pointing  as  he  sings;  and 
ai  fe  he  points  to  fah,  on  the  modulator,  but  sings  /e. 

Did  I  sing  fah,  then,  or  a  new  tone  ? 

Was  the  new  tone  higher  or  lower  than  fah? 

Was  it  higher  or  lower  than  sohf 

The  new  tone  is  a  Little  Step  below  so^,  and  is  called 
fe ;  it  is  to  soh  exactly  what  te  is  to  doh.  Now  sing  as  I 
point,  listen  to  the  mental  eifect  of  soh,  and  tell  me 
whether  it  still  sounds  hke  soh. 

Pupils  sol-fa,  to  the  teacher's  pointing,  example  B,  above. 

What  did  the  last  soh  sound  like  ?  What  did  the  fe 
sound  like? 

Yes  ;  soh  has  changed  into  doh,  /e  is  a  new  te,  lah  is 
changed  into  ray,  te  into  me,  and  so  on. 

The  teacher  may  illustrate  this  further  if  he  thinks  best. 

You  see  that  the  transition  is  caused  by  omitting  fah, 
he  flat  tone  of  the  old  key,  and  taking  fe,  the  sharp  tone 
f>(  a  new  key,  in  its  place.  Fe  thus  becomes  the  distin- 
guishing tone  of  the  new  key.  The  new  key  is  called  the 
"Soh  Key,"  or  (on  account  of  the  sharp  effect  of  the  distin- 
guishing tone),  the  First  Sharp  Key.  The  new  key  is 
shown  on  the  modulator  on  the  right  of  the  old  key.  You 
see  the  new  doh  is  placed  opposite  the  old  soh ;  the  new 
'ay  opposite  the  old  lah ;  the  new  me  opposite  the  old  te, 
and  so  on. 

The  teacher  will  now  pattern  and  point  on  the  modulator 
example  B,  going  into  the  side  oolnmn,  as  indicated  in  exam- 
ple D,  following. 

r>.    KEY  c. 

{jd      :in      |B       :m      jl       :1       |s       :—  } 
G.t 

{|«d     :d      If       :in  .r  |d      :t,      |d      :-  || 

Now  for  another  experiment.  Instead  of  patting  a 
sharp  tone  under  soh,  in  place  of  fah,  let  us  put  &flat  tone 
under  doh,  in  place  of  te,  and  see  what  the  effect  will  be. 


Teacher  sings,  anil  points  on  the  modnlator,  example  E, 
which  the  pupils  may  sing  after  him. 

E.  KEY  C. 

{jd  :pi  is  :iti  |1  :1  js  :—  } 
{|s       :s       Id'      :s  .1  |t       :1  .s  |f       :—  H 

Have  we  made  a  transition  or  not? 

Has  the  mental  effect  of  any  of  the  tones  changed  ? 

Listen  again,  and  in  place  of  te  we  will  put  a  new  tone 
called  ta* ;  now  notice  the  mental  effect  of  fah. 

Teacher  repeats  example  E,  singing  ta  in  the  place  of  te — 
pupils  imitating. 

Fah  has  becoine  doh,  soh  has  become  ray,  lah  has 
become  me,  ta  is  a  new  fah,  and  so  on.  We  have  made 
a  transition  into  a  new  key,  but  a  different  new  key.  The 
distinguishing  tone  of  this  new  key  is  ta.  It  is  called  the 
"Fah  Key,"  or  (on  account  of  the  flat  effect  of  its  distin- 
guishing tone),  the  First  Flat  Key.  The  Fah  Key  is  rep- 
resented on  the  modulator  on  the  left  of  the  old,  or  Doh 
Key. 

Teacher  wiU  now  pattern  and  point  exam  ple  E,  t,'oing  into 
the  side  column,  as  indicated  in  example  F. 

F.  KEY  C. 

{|d      :n      Is       :in      |1       :1       |s       :—  } 
f.  F. 

{|8r      :r       |s       :r  .m  |f       :  m  .r  |d      :—  P 

It  will  be  interesting  now  to  review  examples  A,  B,  D,  h 
and  F. 

Adjacent  Keys  in  Transition.  Such  transitions  as 
have  just  been  studied  are  called  transitions  of  one  remove,  be- 
cause only  one  change  is  made  in  the  pitch  tones  used.  When 
s  becomes  d  the  music  is  said  to  go  into  the  first  sharp  key,  or 
or  key  of  the  Dominant.  When  f  becomes  d  the  music  is  said  to 
go  into  the  first  flat  key,  or  key  of  the  Sub-Dominant  Eighty 
per  cent,  of  aU  the  transitions  of  music  are  to  one  or  the  other 
of  these  two  keys,  and  that  to  the  Dominant  is  the  one  most 
used.  The  relation  of  these  two  adjacent  keys  should  be  very 
clearly  understood  by  the  pupH,  and  he  should  be  led  to  notice 
how  the  pitch  tones  change  their  mental  effect,  as  described  in 
the  follbwing  table: 

Piercing  t  becomes.  Calm  n. 

Sorrowful  1          "  Eousing  r. 

Grand  s          "  Strong  d. 

Desolate  f  is  changed  for  Piercing  t. 

Calm  n  becomes  Sorrowful  L 

Kousing  r          "  ,  Grand  s. 

Strong  d          "  Desolate  t  ! 

*For  pronanoiatlon,  see  page  77. 


POUKTH  STEP. 


77 


f 

t 

n 

t—ta 

n  1 

r 

r  S 

d 

d  f 

t,  m 

li 

R, 

B,  d 

f, 

Returning  Transition.  a  rule,  all 
tunes  go  back  again  to  their  principal  key,  but 
the  returning  transition  is  not  always  taken  in  so 
marked  a  manner  as  the  departing  transition, 
because  tli«  principal  key  has  already  a  hold  on 
the  mind,  and  the  ear  easily  accepts  the  slightest 
hint  of  a  return  to  it.  Commonly,  also,  it  is  in 
the  departing  transition  that  the  composer  wishes 
to  produce  his  most  marked  effect,  and  in  which, 
he  therefore  makes  his  chords  decisive,  and  his 
distinguishing  tones  emphatic.  Let  it  be  care- 
fully noticed,  that  the  return  to  the  original  key 
is  the  same  thing  in  its  nature,  as  going  to  the 
first  flat  key,  so  that  a  study  of  the  mutual  relation 
of  these  two  keys  is  the  ground  work  of  all 
studies  in  transition.  The  pupils  should  be 
taught  to  draw  a  diagram  of  a  principal  key, 
with  its  first  sharp  key  on  the  right,  and  its  first 
flat  key  on  the  left,  observing  carefully  the  shorter 
distances  between  m  t  and  t  d',  and  to  learn  by 
rote,  the  relations  of  their  notes.  Thus,  let 
him  say  aloud,  reading  from  the  middle  column 
to  the  right,  "d  r  3,  m  1,  fe  t,  s  d,"  and  so  on; 
and  from  the  middle  column  to  tlie  left,  "d  s, 
r  1,  m  t,  and  so  on.  It  may  be  interesting  to 
mention,  that  in  passing  to  the  first  sharp  key 
the  old  1  requires  to  be  raised  a  komma  to  make 
it  into  a  new  r;  and  in  passing  to  the  first  flat 
key  the  old  r  is  lowered  a  komma,  to  make  a  new 
1.  These  changes  need  not  trouble  the  leamerj 
his  voice  will  naturally  make  them  without  any 
special  effort. 


Notation  of  Transition.  Tonic  Sol-faists  always  pre- 
fer that  their  notes  should  correspond  with  the  mental  effect  of 
the  tones  they  represent.  We  therefore  adopt  the  plan  of  giv- 
ing to  some  tone,  closely  preceding  the  distinguishing  tone,  a 
dovble  Jiame.  We  call  it  by  its  name  in  the  old  key  as  well  as 
by  that  which  it  assumes  in  the  new,  pronouncing  the  old  name 
slightly,  and  the  new  name  emphatically,  thus:  S'  Doh,  X'  Ray, 
T'  Me,  etc.  These  are  called  hridge-tones ;  they  are  indicated  in 
the  notation  by  double  notex,  called  bridge-rioie.s,  thiis:  sd,  Ir,  tpi, 
etc. ;  the  small  note  on  the  left  giving  the  name  of  the  tone  in 
the  old  key,  and  the  large  note  its  name  in  the  new  key.  This 
is  called  the  "proper"  way  of  indicating  transition.  But  when 
the  transition  is  very  brief,  less  than  two  measures  long,  it  is 
more  convenient  not  to  alter  the  names  of  the  tones,  but  to 
write  the  new  t  as  fe,  and  the  new  f  as  ta. 

The  Signature  of  the  New  Key  is  placed  over  every 
transition,  when  written  in  the  "proper"  way.  If  it  is  a  sharp 
key  (e.  t.  to  the  right  on  the  modulator)  the  new  distingjiishing 
tone  is  placed  on  the  right  of  the  key  name,  thus,  G.  t.  If  it  is 
a  flat  key  (e.  i.  to  the  left  on  the  modulator)  the  new  distinguish- 
ing tone  is  placed  to  the  left,  thus,  f.  F.,  and  so  on.  By  this  the 
singer  knows  that  he  has  a  new  t  or  a  new  f  to  expect.  More 
distant  removes  would  have  their  two  or  three  distinguishing 
notes  similarly  placed,  for  which,  see  Sixth  Step. 

Mental  EflFects  of  Transition.  The  most  marked 
effects  of  transition  arise  from  the  distinguishing  tones  which 
are  used.  Transition  to  the  first  sharp  key  naturally  expresses 
excitement  and  elevation;  that  to  the  first  flat  key  depression 
and  seriousness. 


Manual  Signs.  It  is  not  advisable  to  use  manual  sign, 
in  teaching  transition,  because  they  are  apt  to  distract  attention 
from  the  modulator,  with  its  beautiful  "trinity  of  keys."  The 
greatest  effort  should  be  made  to  fix  the  three  keys  of  the  mod- 
ulator in  the  mind's  eye.  But  if,  on  occasion,  it  is  wished  to 
indicate  transition  by  manual  signs,  the  teacher  may,  to  indicate 
transition  to  the  right  on  the  modulator,  use  his  left  hand  (which 
will  be  to  the  pupil's  right),  thus:  When  with  the  right  hand 
he  reaches  a  bridge-tone,  let  him  place  his  left  hand  close  be- 
side it,  making  the  sign  proper  to  the  new  key,  then  withdraw- 
ing his  right  hand,  let  him  proceed  to  signal  the  music  with  his 
left  He  can  use  the  reverse  process  in  the  flat  transition. 
Signs  could  easily  be  invented  for/e  and  ta,  etc.,  but  we  do  not 
advise  their  use. 

Cadence  Transition.  The  most  frequent  transitions 
are  those  which  occur  in  a  cadence,  that  is,  at  the  close  of  a 
musical  line.  AVhen  these  transitions  do  not  extend  more  than 
a  measure  and  a  half,  they  are  called  Cadence  Transitions,  and 
are  commonly  written  in  the  "improper  way,"  that  is,  by  using 
fe  or  ta.  Cadence  transitions  are  most  frequently  made  by  /e. 
In  singing,  emphasize  this/e  and  the  first  f  that  follows  it. 

Passing  Transition  is  one  which  is  not  in  a  cadence 
and  does  not  extend  more  than  two  or  three  pulses.  The  com- 
monest form  of  the  transition  to  the  first  flat  key,  is  that  in 
which  it  makes  a  passing  harmonic  ornament  in  the  middle  of 
a  line,  or  near  the  begining.  It  is  written  in  the  "improper" 
manner. 

Extended  Transition  is  that  which  is  carried  beyond 
a  cadence.  The  first  sharp  key  is  much  used  in  this  way  in 
hymn  tunes,  often  occupying  the  second  or  third  lines,  and 
sometimes  the  greater  part  of  both. 

Missed  Transitions.  If  one  "part"  is  silent  while 
another  changes  key  twice — when  the  silent  "part"  enters 
again,  it  is  necessary,  for  the  sake  of  the  private  pupil,  to  give 
both  bridge-notes,  thus,  rsd.  But  the  chorus  singer  must  dtsre- 
gard  these  marks  and  tune  himself  from  the  other  parts. 

Chromatic  Effects.  The  tones  fe  and  ta  are  frequently 
introduced  in  such  a  way  as  not  to  produce  transition.  When 
thus  used  they  are  called  chromatic  tones,  and  are  used  to  color 
or  ornament  the  music.  Chromatic  tones  may  also  be  intro- 
duced between  any  two  tones  of  the  scale  which  form  the  inter- 
val of  a  step.  These  tones  are  named  from  the  scale-tone  below, 
by  changing  the  vowel  into  "e,"  as  doh,  de,  ray,  re,  etc.;  or, 
from  the  scale-tone  above,  by  changing  the  vowel  into  "a,"  as 
te,  ta,  lah,  la.  The  customary  pronunciation  of  this  vowel  in 
America,  is  "ay,"  as  in  "say;"  in  England  is  pronounced  "aw." 

Such  exercises  as  the  following,  should  be  carefully  taught 
by  pattern,  from  the  modulator.  Let  them  be  first  sol-faed,  and 
afterward  sung  to  la.  In  fact,  all  the  early  transitions,  and  all 
the  more  difficult  transitions,  following  later,  should  be  well 
taught  from  the  modulator.  If  this  is  not  done,  transition  will 
become  a  confusion  instead  of  a  beauty  and  a  pleasure  to  the 
learner. 

The  following  seven  exercises  may  be  treated  as  foUows 
Sing  each  exercise  first,  as  written  in  the  "improper"  wa/. 
then  according  to  the  "proper"  notation.  Then  connect  tb« 
first  part  of  each  exercise  with  the  second  part  of  all  the  others. 


FOUBTH  STEP. 


thTis,  the  first  part  of  Exercise  175  and  the  second  part  of  Ex- 
ercise 176.  The  first  part  of  Exercise  175  and  the  second  part 
of  Exercise  177,  and  so  on.  Then  take  the  first  part  of  Exer- 
cise 176  and  connect  it  with  the  second  part  of  the  others,  in 


the  same  way,  and  so  on  with  each  exercise,  singing  by  ths 
"  proper  "  notation.  The  object  of  this  is,  to  acqiiire  the  ability 
to  leap  to  the  bridge-tone.  It  is  needless  to  say  the  teachrr  ma,y 
invent  his  own  exercises,  in  place  of  these,  if  he  so  prt^fors 


Although  key  0  is  indicated  for  aU  these  exercises,  it  wUl  be  better  to  change  the  key  occasionally  to  D  or  E|}.  Alter  they  have 
been  well  practiced,  they  may  be  sung  through  continuously  as  one  exercise.  The  small  notes  indicate  the  tones  as  they  are  named  ii 
key  C — caUed  the  "improper"  notation. 

Ex.  175.   KEY  C.  G.  t  f.  C. 


:m  Is   :d'  It 

:l  |s 

:—  I'd 

:d 

It, 

:d 

Ir 

:r 

If 

:—  |ds 

:1 

1' 

:n  If   :r  Id  :  — 

1  1 

1 

1  g 

*  8 

1  fe 

•  g 

•  1 

1 

1  1 

Ex.  176.     KEY  C. 

G.  t 

f. 

:r  Id   rm  Is 

:f  |n 

:t, 

1' 

:  n 

1; 

:r 

If 

:—  jds 

:s 

1' 

:1   |s    :f  |n  :  — 

'  1 

1  PI 

:  fe 

1 " 

:  t 

1  * 

:  1 

1 

Ex.  177,     KEY  C. 

G.  t 

f.  c. 

:r  In  :d  If 

: m  |r 

:-|^s, 

:li 

|S| 

:d 

Id 

:t, 

If 

:—  |ds 

:r 

:f   In  :r  Id  :  — 

1  1 

1  ' 

;  PI 

1  ^ 

1  s 

:  fe 

1 

1 

1  1 

Ex.  178.     KEY  C. 

G.  t. 

f.  c. 

:f  Is    :d'  |r' 

:di  |t 

: —  |*n 

:f 

1  ^ 

:r 

If 

:t, 

If 

:—  |ds 

:di 

1  8 

:n  jr   :f  1  n  :  — 

1  1 

1  ^ 

:  d' 

1  t 

:  I 

1  ( 

:  fe 

Is 

5—  1 

1  1 

Ex  179.     KEY  C. 

G.  t. 

f.  c. 

:—  |ir 

:  n 

If 

:r 

If 

:t, 

Id 

:—  |ds 

:  n 

|f 

:r  |d  :t|  |d  :  — 

:f  |n  :s  |d" 

:t  |1 

1 1 

:  t 

1  d' 

;  1 

:fe 

1  s 

Ex.  180.     KEY  C. 

G.  t 

f.  C. 

:t  |di 

:—  |df 

:f 

:d 

1'' 

:t, 

d 

:—  |ds 

:s 

:f   |n  :r  |d  :  — 

:f  |s    :s  |1 

Id' 

:d' 

:  s 

1 " 

:fe 

8 

Ex.  181.     KEY  C. 

G.  t. 

f.  C. 

:—  |fet, 

:d 

ir 

:r 

Id 

:t, 

f 

:— 

:di 

:f   |r   :s  jd  :— 

:  n  1  s    :  n  jr 

:n  |f 

1  fe 

:  s 

:1 

1  8 

:fe 

Extended  Transition  to  the  first  flat  key  seldom  occurs,  so  that  it  is  not  Tiecessary  to  give 

more  than  one  or  two  examples  of  tt. 

Ex.  182.     KEY  C. 

f.  F. 

c.^t 

:t  ,1 

:f 

ir 

:r 

Id 

If 

:f 

1  ^ 

:s  |1    :t   |d'  :  — 

:f  jn  :s  jd' 

:  ta 

:  8 

1  f 

Ex.  183.     KEY  C. 

f.  F. 

C.t 

:t  |d' 

:—  Id's 

:  n 

1  ^ 

:f 

1  ^ 

•f  1 

f 

:—  jdf 

:1 

1  ^ 

:d'  |di  :t   |  d'  :  — 

:f   |s    :s  |1 

1 

:  1 

1  8 

:  ta 

1 1 

POUBTH  STEP. 


70 


Ex.  184.    KJsn  C.    Passing  Transition  to  the  first  flat  key. 

d'     :s      II      :ta      1      :f      |m     :  —  |m 


:f 


:ta  II 


:t 


d'  :- 


Ex.  185.     KEY  C. 

s      :m     |d<  :t 


;di 


—     Is      :ta     jl      :f      In     :r      jpi     :  — 


Ex.  186.    KEY  A. 

m     :r      Id     :t|      |d  :1| 


d     :tai     |1|     :r      |d     :ti      |d  : 


Ex.  187.   KEY  D.    Ohromatio  fe  and  ta. 

d     :m     |8     :fe     |s  :f 


—     I  PI     : s        fe     : 8      If      : r      id  : 


Ex.  188.   KEY  D. 

d     :m      |r     :m      If     :fe  is 


:8 


fe  :f 


Ex.  189.    KEY  A. 

S|     :n  |r 


:d 


ta      li      :  — 


;tai 


d     :  — 


Ex.  190.    KEY  F. 

s      :fe  If 


:  PI 


:i  s 


;tai 


Ex.  191.    KEY  C. 

:f  in 


:1 


:fe 


d'     :ta  II 


d'  :t 


d'  :— 


FitchiBg  Tunes.  In  the  third  step  the  pupil  was 
taught  to  pitch  the  key  tone  of  a  tune  by  singing  down  the 
Standard  Scale,  stepwise,  to  the  tone  required.  A  shorter  way 
may  now  be  taught.  In  pitching  key  G  the  pupil  need  not  run 
down  to  G  stepwise,  but  will  fall  upon  it  at  once  from  C.  In 
pitching  key  F  he  will  take  C  as  s,  and  fall  to  the  key  tone, 
thus,  C — 8  m  d.  Key  E  may  be  piched  by  falling  to  n,  thus, 
C— d' s  ni— md.  Key  A  is  pitched  by  falling  to  1,  thus  C — d' 
1 — Id.  Key  D,  thus,  C — d  r" — d'.  The  key  may  be  pitched  a 
little-step  higher  (sharper),  or  a  little-step  lower  (flatter),  than 
any  tone  of  the  Standard  Scale.  The  tones  thus  required  are 
named  "C  sharp,"  "D  ekarp,"    'E  flat,"  '  D  flat,"  etc.,  and  the 


sign  $  is  used  for  "sharp,"  and  fe  for  "flat."  A  sharp  be&is  no 
relation  to  the  tone  below  it,  and  after  which,  for  conTenience, 
it  is  named,  but  its  relation  is  to  the  tone  above  it.  It  is  to  the 
tone  aboTO  it  the  same  that  t  is  to  d,  or  /e  to  ■.  In  order  to 
strike  it  correctly,  sing  the  tone  above,  and  then  smoothly  de- 
scend a  Httle-step  to  it.  A  flat  bears  no  relation  to  the  tone 
above  it,  and  after  which  it  is  named.  Its  relation  is  to  the  tone 
below  it,  to  which  it  is  the  same  as  f  to  n,  or  to  to  1.  To  pitch 
it  correctly,  in  the  cases  of  Gfe,  Afe  and  Dli,  we  should  sing  the 
tone  below,  and  then  rise  to  it  a  little-step.  In  the  Key  Bb  take 
0'  as  8,  and  sing  s  f— fd.    In  Key  Hi  take  C  as  1,  thus,  C— 1 1  d'. 


80 


POUBTH  STEP. 


COME  BACK,  SWEET  MAY. 

KEY  F. 


:d 

d  :  — 

:  n  1  s  :  —  :  d' 

s  : — 

: —  1 —  :n 

:d 

f  :  — 

:f  If  :s 

:f 

n  :  — 

1.  Com« 

back. 

come  back,  sweet 

May, 

And 

bid  « 

the   flow  - 

'rets 

bloom, 

2.  As 

ev   -  - 

'ry      sea  -  son 

chang 

-    -  es, 

Each 

brings 

some  pleas  - 

■are 

new, 

3.  I 

love 

the    gol    -  den 

splen  - 

-   -  dor 

Of 

gay 

and    glo  - 

rions 

June, 

:d 

d  :  — 

:d  In  : —  :n 

n  :  — 

:-|d  :- 

:d 

r  :  — 

:d  It,  :- 

:t, 

d  :- 

d  :  — 

:n 

Is  :- 

:d' 

s  :  — 

1 —  :  m 

:d 

r  :  — 

:r  1 

r  :  n 

:r 

d  :  — 

birds 

sing 

on 

the 

spray, 

The 

skies 

their 

blue 

re- 

sume. 

which 

the 

fan   -  - 

cy 

rang  - 

es, 

Afi 

pleas'd 

and 

change 

-  ful 

too. 

love 

the 

twi   -  - 

light 

ten  - 

der 

Of 

Au  - 

tumn's  har  - 

-  vest 

moon. 

d  :  — 

:d 

In  :- 

:  n 

n  :  — 

Id  :- 

:d 

s,  :  — 

:8,  1 

s,  :  — 

■  5  8, 

d  :  — 

f  :  — 

:f 

|r  : n 

:f 

s  :  — 

:  n 

id' 

:d' 

di  :t 

:1  1 

1  :s 

:fe 

8  :  — 

more 

I 

would 

be 

breath 

-  ing 

Thy 

fresh 

and 

fra  - 

grant 

air; 

win  - 

-try 

nights 

we 

hs   -  - 

ten 

To 

tales 

and 

songs 

of 

mirth. 

las! 

that 

all 

snch 

honrs 

So 

soon 

should 

pass 

a  - 

way  ! 

r  :  — 

:r 

It,  :d 

:r 

n  :  — 

:d 

In  :- 

:n 

r  :  — 

:r  1 

d  :  — 

:d 

•ti  :- 

d  :  — 

:n  1  s  : 

—  :d' 

d'  :  — 

:f  11 

:—  :1 

s   :  n 

:s 

f  :n 

:r 

d  :- 

more 

I  would 

be 

wreath 

-   .   .  ing 

Thy 

bios  - 

soms 

in. 

my 

hair. 

joy    -  - 

lit   fa  - 

-   -  ces 

glis  - 

■   -   -  ten 

A  -  - 

round 

the 

so   -  - 

cial 

hearth. 

fill 

thy  lap 

with 

flow  - 

-  ers. 

Come 

back. 

come 

back, 

sweet 

May. 

d  :  — 

:  d   1  ta, : 

—  :tai 

li  :- 

If) 

:—  :f 

n  :d 

:s. 

li 

:t. 

d  :- 

KEY  G.    Bonnd  in  three  parts. 

:8|       Id       :-      It,      :t,       11,       :-      |s,       :f       In  :n 


I  To         I  Ports      -      -      rnsnth,    to         '  Forte      -      -   month,      It,        'is  a 


ijd       ;—       tti        :r        in  .f  :s  |s 

{ t  tovMtt,  Sing        I  der  -  ry   iawn,  hey 


:  8 

down 


FOUBTH  STEP. 


81 


THE  HONEY-BEE'S  SONG. 


KBY  A. 

s.  c. 

B.' 

S|  :d 

:d 

|d  :d  :d 

ti 

:r   :r  |r  : —  : — 

S|  :r  :r 

|r  :r 

:r 

rii  :  pij 

:pIi 

1  pii  :  ni|  :  PI) 

r. 

:fi  :fi  |fi  :-  :- 

f|  :fi  :fi 

|f|  :fi 

:f| 

1. 1  am 

a 

hon-ey  -  bee, 

buz 

-zing  a  -  way, 

0  -  ver  the 

blos-Boms 

the 

2.  Up  in 

the 

morning — no 

lag 

-gardsare  we, 

Skimming  the 

clo  -  ver  - 

tops 

3.  No  i  - 

die 

mo-ments  have 

we 

thro'  the  day, 

No   time  to 

squander 

in 

d,  :d, 

d| 

Id,  :d,  :d, 

8| 

:s,  :si  |S|  :—  :— 

S|  :S|  :S| 

|S|  :si 

:S| 

T.  F.  Sbwaed. 

d  :n  :ni  In  :—  : 
ni  :S|  :si  | S|  :—  : 

long  sum  -  mar  day ; 
ripe  for  the  bee; 
sleep  or    in  play; 

d|  :d|  :d|  Id,  :—  : 


s,  :d  :d  |d  :d  :d 
nii  :  n,  : ni|  |  m,  :  rn,  :S| 

Now  in     the    Kl  -  y  -  cnp 
Waking    the   flow-ers  at 
Summer    is     fly  -  ing,  and 

d|  :d|  :d|  I  d|  :d|  :  m. 


t|  :r   :r  |r  : 

S|  :t|  :t|  |t|  : 

drinking  my  fill, 
dawning  of  day, 
we   must  be  sure 

s,  :8|  :s,  |s,  : 


r  :r   :r   |r  :d  :t| 

t|  :t,  :t,  It,  :1,  rs. 

Now  where  the  ro  -  ses  bloom 
Ere  the  bright  sun  kiss  the 
Food  for  the      win-ter  at 

S|  :s,  :s.  Is,  :s,  :s. 


1,  :t|  :1|  |S|  :  — 
fe,  :fe|  :fei  |  S|  : — 

un-der  the  hill; 
dew-drops  a  -  way; 
once  to      se  -  cure; 

r,  :r,  :r,  |S|  :  — 


s,  :s, 

:s, 

If  :- 

:n 

r  : — 

:n 

If  :- 

:s, 

8| 

:8,  :s. 

1  rn  :  — 

:r 

d  :— 

:r 

|m  :- 

s,  :8, 

rs. 

|r  :- 

:d 

t|  :- 

:d 

|r  :- 

:s. 

s. 

Ai  :s. 

Is,  :- 

:f| 

R,  :  — 

:f| 

|S|  :  — 

Gai-ly 

we 

fly. 

we 

fly. 

we 

fly. 

My 

fel 

-  lows  and 

I. 

and 

I, 

and 

I; 

Gai-ly 

we 

sing. 

we 

sing, 

we 

sing. 

As 

on 

-  ward  we 

wing. 

we 

wing. 

we 

wing; 

Bees  in 

a 

hive, 

a 

hive. 

a 

hive, 

Are 

up 

and    a  - 

live. 

a  - 

live. 

a  - 

live; 

s,  :si 

:s, 

Is,  :- 

:s. 

s,  :  — 

:s. 

Is,  :- 

:8| 

s. 

:s,  :si 

Id,  :- 

:d. 

d,  :- 

:d. 

Id, 

in:m  :n  |f  :-  :f 

r  :r  :r  1  n  :-  :- 

d  :d  :d  |r  :r  :r 

t,  :- 

:-  11,  :- 

:t, 

d  :-  :-  1-  :-  :- 

S|:si  :s,  |1,  :-  :!, 

t,  :t|  :t,  Id  :-  :- 

s,  :s,  :si  |1,  :1|  :1, 

1)  :- 

:-  Ifi  :- 

:f| 

n,:-  :-  h 

Gaily    we  fly,  My 

fel-lows  and  I, 

Seeking  for  hon-ey  our 

hives 

to 

sup- 

ply- 

Gaily    we  sing,  As 

onward  we  wing, 

Back  to  the  hive  with  the 

treas 

-   -  ure 

we 

bring. 

Bees     in  a  hive  Are 

up  and  a  -  live, 

La  -  zy  folks  never  can 

pros 

-   -  per 

and 

thrive. 

d,:d,:d,|f,  :-  :f, 

s,  :si  :si  1  d|  :-  :- 

m,:n,:in,|f,  :f,  :f. 

S|  :- 

:-  Is,  :- 

:S| 

d,  :-  :-  1-  :-  :- 

*  Soprano,  Contralto,  Base. 

{I 


KET  C.   Chromatic  Fe.  S. 

s    .fe  :f    .n   Ir  :r  Ir    .rn    :f    .s    jm         :—        Id'  .d'    :t  .1 

Soh,   fe      ffth,     me,   I  ray,  ray,  |  That's  the   way    it     |  goes.  |  Now  well   try  to 


II 


:s  Ife.s    :f    .s  |m 

er  I  Fe,    soh,    fah,    soh,   I  me, 


.  S 

Yes, 


fe  .s 

that's  the 


:f  .8 

way  it 


n 

goes. 


82 


FOUBTH  STEP. 


COME  TO  THE  FOUNTAIN. 


KEY  D.     S.  0.  B. 

3.  WXIOHX. 

R      :r  .f  1  8 

:  d'  .d' 

t 

:1 

Is 

:  m 

r 

:-  .R 

If 

:f 

PI 

:r 

1 R     :  — 

d     :  d  .r  1  m 

:  n  .m 

8 

:f 

1 

:d 

ti 

:-.d 

|r 

:r 

d 

:t, 

Id  :- 

1.  Come,  come  away 

to  the 

pear 

foun  - 

tain. 

•Tis 

the 

mom 

-  ing 

hour 

that 

calls, 

2.  Oome,  come  away 

while  the 

bells 

are 

ring  - 

ing. 

In 

the 

gen 

tie 

wav  - 

ing 

wind. 

d     :d  .d|d 

:d  .d 

d 

:d 

Id 

:d 

8| 

:-  .8, 

Is, 

:8| 

8l 

:8, 

Id  :- 

R  .f  :s  .1 

Is 

:d' 

t 

:1 

11 

:8 

1 

:-  .1  |l_j  :f_jn 

r 

:s 

Id 

d  .r  rm.f 

In 

:1 

S 

:f 

If 

:r 

f 

:-  .f  |f\jn  :r  .d 

t, 

:t, 

Id  :- 

Where  the 

stream 

-  let 

from 

the 

monn 

-  tain, 

To 

its  mel  -  low 

mu  - 

sio 

falls; 

And  the 

flower 

-  boat 

now 

is 

bring 

-  ing. 

Flow 

-   -  ing  wreaths  our 

brows 

to 

bind; 

• 
• 

1 

1 

f 

:-.f|d  :d 

Si 

:8, 

Id  :- 

r  :- 

.R  If 

:f 

:s_J 

Is 

:  R 

d' 

:-.d'  It 

:s 

1  :fe 

k  :- 

ti  :- 

.d  |r 

:r 

d^r 

:rKf 

Im 

'4 

R 

:-  .R  1  r 

:t, 

d  :d 

It,  :- 

There 

with  un  - 

bound 

tress 

-  es 

wav  - 

ing, 

Like 

a    sil  - 

-  ken 

fair   -  y 

sail. 

From 

the  spark 

-  ling 

wave 

then 

bound 

-  ing, 

Spir 

-   -  its  fresh 

as 

mom-ing's 

gale, 

si 

.8,  |8| 

:S| 

d 

:d 

Id 

:d 

d 

:-.d  |8, 

:8| 

r  :r 

|S| 

r      :r  .r 

If 

:r 

R 

:PKf 

Is 

:r 

1  :- 

.1  |8 

:d' 

d' 

:t 

Id'  :- 

t|  :t,.d 

|r 

:t. 

d 

:d ^ 

|r 

:d 

f  :- 

.f  |r 

:d 

r 

:r 

1  R     :  — 

Breez  -  es 

fan 

-  ning. 

wa 

■  ters 

lav  - 

ing, 

Health 

and  joy, — 

the 

Fonn 

-  tain 

haiL 

Hearts  light 

beat 

-  ing, 

Joy 

snr  - 

round 

-ing, 

Ah! 

what  bbss,- 

-the 

Fonn 

-  tain 

haiL 

8,  :8, 

Is, 

:S| 

d 

:d 

Id 

:d 

t,  :- 

•t.  Id 

:1| 

S| 

:8, 

Id  :- 

OHIPPEREE  GHEE. 

Mas.  S.  J.  Bbioham.  T.  F.  Sewabd. 

KEY  G.    S.  C.  B.  T 


s   :f    :  R 

Is  :f 

:r 

s  :f 

:  R 

Is 

S|  :si  :8| 

|R  : 

—  :  R 

r  :  — 

:r   Id  I—:— 

R  :r   : d 

1  R  :r 

:d 

R  :r 

:d 

|R 

S|  :s|  :Si 

Is,': 

—  :si 

fi 

:f,  1  R|  :—  :  — 

1.  Chipper-ee, 

ohip-per  - 

ee. 

chipper 

-  ee 

chee, 

Nev-er  were 

birds 

as 

bUthe 

as  we. 

2.  Chipper-ee, 

chip-per  - 

ee. 

chipper 

-  ee 

chee, 

0   what  a 

love 

-  -  ly 

lunch 

have  we; 

3.  Chipper-ee, 

ohip-per  - 

ee, 

chipper 

-  ee 

chee, 

0  fol-low 

me. 

0 

fol    -  - 

low  me; 

d  :d  :d 

Id  :d 

:d 

d  :d 

:d 

Id 

Si    :8|  :S| 

Is,  : 

—  :s. 

S|  :  — 

:8,  Id 

JT 


FOUBTH  STEP. 


Up 
Chil 


1  :1 


Down 
He 


f.  G. 


:d 

If  :f 

:f 

PI  :  — 

:m 

Is 

d  :  — 

:d 

If  :f 

:f 

PI'. — 

Is  :- 

Hi  :1i 

:1| 

d  :  — 

:d 

In  : —  :  — 

li  :  — 

Hi  :1i 

•li 

d  :  — 

:d 

1  PI  :  — 

a  - 

bove  ns 

the 

gold  - 

en 

sun. 

Shin  - 

ning 

I  bright  til 

the 

day 

is 

done; 

ly 

winds 

and 

sum 

mer 

ram 

6r 

blightod 

our 

gold  - 

-  en 

grain; 

fltit  -  ter  and 

whirl 

they 

Down 

the 

bank  to 

the 

brook 

be 

-  low; 

:fi 

|f|  :fi 

:fi 

d  :  — 

:d 

Id 

fi 

:f| 

Ifi  :fi 

:f| 

d  :  — 

:d 

Id  :- 

D.  t. 

:1 

1  S     !  S 

J  g 

f  :  — 

:f 

|m 

nil  :1 

:1 

1  s  :s 

:s 

t  :6} 

:r' 

Id'  :— 

:d 

Id  :d 

:d 

ti  :- 

:t, 

Id 

df  :f 

:f 

1  m  :  Fi 

:  m 

r  :  n 

:f 

1  n  : — 

be  - 

low  and 

be- 

neath 

our 

feet, 

Shine 

the 

sheaves 

of 

gold  - 

en  wheat; 

who 

feed  -eth 

ns 

all 

so 

well. 

Knows 

where  all 

the 

spar  - 

rows  dwell; 

a 

bath 

and 

some 

to 

drink. 

Some  for  a 

chat  by 

the 

wa   -  - 

ter's 

brink; 

:f 

*  1, 

rn  :  m 

:  PI 

X  * 

'.  r 

Id  •—  :  — 

df  :f 

:f 

|s  :s 

s    !  — 

:8| 

Id 

I 

:pi  . 

Is  :f 

:  n 

s  :f 

:  Fi 

s 

s,  :S| 

:.8| 

1  m  : — 

r  : — 

:r 

Id  :~ 

:d 

1  n  :r 

:d 

rn  :r 

:d 

m 

S|  :si 

:s, 

|S|  :  — 

:s, 

fi 

:f| 

1  mi 

-  ee, 

chipper  - 

ee, 

chipper  - 

ee  chee, 

Nev-er 

wore 

birds 

so 

blithe 

as 

we. 

:d 

Id  :d 

:d 

d  :d 

:d 

d 

S|  :s, 

:si 

Is,  :- 

:s, 

s,  :— 

:b, 

Id,  :- 

Al2. 


GENTLY  EVENING  BENDETH. 


Sroeetly. 

PI      :  PI 

|r 

:r 

d      :  — 

Is, 

li 

:t. 

Id 

:  PI 

r  : 

d  :d 

It, 

:s. 

s,  :— 

1  nil    :  — 

f| 

:fi 

Is, 

:d 

ti  : 

1.  Gent-ly 

eve  - 

'ning 

bend    -  - 

-  eth. 

0  - 

ver 

vale 

and 

hill, 

2.  Save  the 

wood  - 

brook's 

gush    -    -  - 

ing, 

AU 

things 

si  - 

-  lent 

rest; 

3.  And  no 

eve  - 

ning 

bring    -  - 

-  eth. 

To 

its 

life 

re  - 

lease; 

4.  Eest-less 

thus 

life 

flow    -  - 

eth, 

Striv 

-  eth 

in 

my 

breast; 

d,  :pi. 

|S| 

:fi 

pii     :  — 

Id,  :- 

fl 

1  ni, 

:d, 

Si  : 

0.  H.  Bras. 


PI 

:  PI 

If 

:  n 

r      :  — 

Is  :- 

d  :f 

In 

•T 

d      :  — 

1-  : 

d 

:d 

|r 

:d 

t,  :- 

1  d     :  ta. 

1,  :r 

Id 

:s, 

pi,  :- 

1-  : 

Soft 

-  ly 

peace 

de  - 

scend 

-  eth, 

And  the 

world 

is 

RtilL 

Hear 

its 

rest  - 

less 

rash 

-  ing, 

On  t'ward 

0  - 

-  cean's 

breast. 

And 

no 

sweet 

bell 

ring 

-  eth, 

O'er  its 

wave 

-  lets 

peace. 

ftod 

a  - 

-  lone 

be  - 

stow 

-  eth 

Tran-quil 

eve  - 

ning 

rest. 

d 

:li 

|r, 

:pi,.f. 

Si  :f, 

1  m,    :  — 

f,  :r, 

Is, 

:s, 

d|  :- 

1-  : 

POUETH  STEP. 


El2. 


ANYWHEBE. 


B.  G.  UNSBIiD. 


n     :  PI 

1  a 

1  8 

J  PI 

PI 

:  r 

1  v 

I 

.  I 

1  a 

tr 

PI     '  — • 

1  —  • 

d  :d 

Im 

:d 

d 

:t, 

It,  :- 

r 

:r 

It, 

:t. 

d  — 

l.A   -  ny 

lit  - 

tie 

cor  - 

ner, 

Lord, 

In 

thy 

Tine 

-  yard 

wide; 

2.  Where  we 

pitch 

our 

night 

-ly 

tent, 

Snre 

-  ly 

mat 

-  ters 

not; 

3.  AU     a  - 

long 

the 

■wil  - 

del 

-  ness, 

Let 

us 

keep 

our 

sight; 

s  :s 

|8 

:s 

S 

:s 

Is  :- 

S 

:s 

Is 

:s 

s      :  — 

\-  : 

d  :d 

Id 

:d 

:8, 

Is,  :- 

Sj 

:si 

Is, 

:si 

d  :- 

\-  ' 

s    :s    |1  :s 

s  :pi 

|r  .— 

r  :s 

It 

.1 

:s    :-  1-  : 

s  :s 

11 

:d' 

PI   :pi   1  f  :m 

PI  :d 

|t|  :- 

t,  :r 

1  r  : 

d 

t,    :-  1-  : 

d  :d 

Id 

:d 

Where  thou  bid'st  me 

work  for 

thee, 

There  I 

would 

a  - 

bide; 

Mir  -  a  - 

cle 

of 

If      the    day  for 

thee  is 

spent, 

Bless -ed 

is 

the 

spot; 

Quickly 

we 

our 

On    the     mov  -  ing 

pil  -  lar 

fixed. 

Con  -  stant 

day 

and 

night, 

Then  the 

heart 

wiU 

d'  :di    Id'  :d' 

d'  :s 

Is  :- 

s     :  s 

1  s  : 

fe 

s     :-  i-  : 

PI    :  PI 

If 

:1 

d    :d    |d  :d 

d  :d 

Is,  •:- 

S|  :t| 

1  r  : 

r 

s,    :-  1-  : 

d  :d 

If 

:f 

di  :1 

is-: 

d  :d 

Id  : 

sav  -  ing 

grace. 

tent  may 

fold. 

make  its 

home, 

1  :f 

In  : 

f  :f 

Id  : 

KEY  EI?. 

s    :s  |1  :di 

d    :d  Id  :d 

That  thon  giv  -  est 

Cheerful  march  thro' 

Will-ing,  led  by 

PI    :  PI  I  f  :1 

d    :d  If  :f 


d'  :1 
d  :d 

me  a 

storm  and 
thee,  to 

1  :f 
f  :f 


s    :  PI 


d    :  — 

place 
cold, 
roam, 

PI  ;s 
d    :  — 


s    :  PI 

|r  :- 

PI  :r 

Id    :  — 

n  :d 

It,  :- 

t,  :t. 

Id    :  — 

A   -  ny  - 

where. 

A  -   ny  - 

where. 

With  thy 

care. 

With  thy 

care. 

A  -  ny  - 

where. 

A  -   ny  - 

where. 

s    :  s 

Is  :- 

s  :f 

|m  :- 

d  :d 

Is,  :- 

si  :s. 

Id    :  — 

THE  LOVELY  LAND. 


R.  LowET,  by  per 


:s 

d' 

:t 

Id 

:s 

1  : 

1     |1  .t  :d' 

s  :s 

.f  1  PI 

:r 

d     :  — 

1-  :8 

:pi 

PI 

:f 

Is 

:  PI 

d  : 

d     Id  :d 

PI     :  PI 

^  Id 

:t. 

d     :  — 

1  —   :  PI 

1.  There 

is 

a 

land 

of 

pure 

de    -  Ught,  Where 

saints  im 

-  mor 

-  tal 

reign; 

In  . 

2.  There 

ev  - 

er  - 

last  - 

ing 

spring 

a   -   bides.  And 

nev   -  er 

fad 

-  ing 

flowers; 

Death 

3.  Sweet 

fields 

a 

mong 

the 

swell  - 

ing    flood  Stand 

dressed  in  Uv 

-  ing 

green; 

So 

:s 

S 

:s 

Is 

:s 

f  : 

f     If.s  :1 

d'  :s 

Is 

:f 

PI     :  — 

1-  :8 

:d 

d 

:r 

1  ni 

:d 

f  : 

f     If  :f 

s  :s 

|8| 

:s. 

d     :  — 

1-  :d 

d' 

:t 

Id' 

:s 

1 

:1 

11  .t  :d' 

s 

:s_^ 

|P1 

:r 

i     :  — 

1-  : 

PI 

:f 

Is 

:in 

d 

:d 

Id  :d 

PI 

:  PI  .r 

Id 

:t, 

i     :  — 

fin  - 

ite 

day 

ex 

eludes  the 

night.  And 

pleas  -  ures 

ban  - 

ish 

pain; 

like 

a 

nar 

-  row 

sea. 

di  - 

-  vides  This 

heaven-ly 

land 

from 

ours; 

to 

the 

Jews 

old 

Ca 

-  naan 

stood.  While 

Jor   -  dan 

rolled 

be  - 

tween; 

S 

:s 

Is 

:s 

f 

:f 

If.s  :1 

d' 

:  s 

Is 

:f 

PI     :  — 

1-  : 

d 

:r 

Im 

:d 

f 

:f 

jf  :f 

s 

:s 

|S| 

:s. 

i     :  — 

1-  : 

FOURTH  STEP. 


85 


s 

:-  .n  |1 

:s 

n 

:r 

1  J 

Id 

:r 

n 

:d'.,d'|  t  .1 

:s  .16 

s      : — 

1 

m 

:-.d  If 

:  n 

d 

:t, 

Id 

:t, 

d 

:  m.,n  1  r 

:r 

r      :  — 

1- 

Oh! 

the  land, 

the 

love 

-  ly 

laud, 

The 

land 

o  -  ver  Jor  - 

dan's 

foam; 

S 

:-.s  Id' 

:d'.s 

S 

:f 

|m 

:s 

S 

:s  .,s  1  s 

:t^l 

t      :  — 

1- 

d 

:-.d  Id 

:d 

S| 

:si 

Id 

:s, 

d 

:d.,d  |r 

:r 

s,     :  — 

:s  .s 
:  m.m 

On  the ; 

:di.d' 
:d.d 


d' 

:t 

Id'     .s  .,s 

1  .1  :1  .1 

11  .t 

:di 

s 

:s  .,f  1  m 

:r 

d      :  — 

1- 

n 

:f 

|s  :ni.,Pi 

d  .d  :d  .d 

Id 

:d 

n 

:n.,r  |d 

d      :  — 

1- 

gold 

-  en 

strand,  Wait  the 

happy,  happy 

band. 

To 

wel  - 

come  the  ran 

-  somed 

home. 

S 

:s 

Is  :d'.,d' 

d'.d'  :d'  .d' 

Id'.t 

:d' 

S 

:  s  .,s  1  S 

:f 

m     :  — 

1- 

d 

:r 

|m  :d..d 

f  .f  :f  .f 

If 

:f 

S 

:s  .,s  |S| 

:s, 

d      :  — 

MAY  IS  HEBE. 


KEY  A. 

8|.,S|:ni  :- 

.r 

d  .  pii  :1| 

:si 

S|  .,S|:1| 

:t| 

d  .,r  :  n 

:d 

S|  .,S| :  n  : 

-  .r 

ni.,mi:si  :- 

.fi 

mi.  ni|:f| 

:f1| 

S|  .,S|:fei 

:fi 

pi|.,f|  :S| 

:nii 

mi.,pi|:si  : 

-  .fi 

1.  May  is  here. 

the 

world  rejoic 

-  es. 

Earth  puts  on 

her 

smiles  to  greet 

her. 

Grove  and  field 

Ufl 

2.  Birds,  thro'  ev'  - 

ry 

thicket  call 

-  ing. 

Wake  the  woods 

to 

sounds  of  glad 

-  ness. 

Hark !  the  long  - 

drawn 

3.  Earth  to  heaven 

Ufts 

up  her  voie 

-  es, 

Sky,  and  fields, 

and 

woods,  and  riv 

-  er, 

With  their  heart 

our 

d.,d:d  :- 

.d 

d  .d  :d 

:d 

t|  .,t|:d 

:r 

d  .,d:d 

:d 

d.,d:d  : 

-  .d 

d|.,di:d|  :- 

•  d, 

d|  .d|  :d| 

:d, 

S|  .,si  :si 

:si 

d  .,d  :d 

:d 

d|.,di:di  : 

-  .d, 

d.,rn|:l, 

:si 

S|.,S|:1|  :t| 

d  .,r  :in 

:d 

1  .,s  :r       :  — 

f  .,m  :d 

mi.,pi|:f| 

:n, 

Si.,S|:fei  :f 

mi.,fi  :S| 

:mi 

t|  .,t|  :t|      :  — 

d.,d  :d 

up  their  voic 

-  es. 

Leaf  and  flowers  come 

forth  to  meet 

her. 

Happy  May, 

blithesome  May 

notes  are  fall 

-  ing, 

Sad,  but  pleas  -  ant 

in    their  sad 

-  ness, 

Happy  May, 

blithesome  May 

&c. 

heart  re-joic 

-  es, 

For  his  gifts  we 

praise  the  Giv 

-  er, 

Happy  May, 

blithesome  May 

&c. 

d.,d  :d 

:d 

t|  .,t|  :d  :r 

d  .,d:d 

:d 

r  .,r  :f      :  — 

d  .,d  :  m 

d|.,d|  :d| 

:d, 

S|  .,S|  :S|  :S| 

d  .,d:d 

:d 

S|.,S|:S|      :  — 

d.,d:d  : 

tn.,r:l,  :t| 

d.,r:m  :f 

1  .,s:r     :  — 

f.,m:d     :  — 

n.,r:l|  :t| 

d.,ni:d     :  — 

S|.,f|:f,  :f| 

m|.,f|:S|    :  — 

t|.,t|:t|     :  — 

d.,d:d     :  — 

S|.,f|:f,  :f| 

pii.,S|:ni    :  — 

Winter's  reign  has 

passed  away. 

Happy  May, 

blithesome  May, 

Winter's  reign  has 

passed  away. 

s  .,s  :r  :r 

d.,d:d  :r 

r  .,r  :f     :  — 

d.,d:pi     :  — 

s  .,s  :r  :r 

d.,d:d    :  — 

S|.,Si:S|  :S| 

d.,d:d     :  — 

S|.,S|:S|    :  — 

d.,d:d  :— 

S|.,:i:s  :s, 

d|.,d|:d|    :  — 

86 


FOUBTH  STEP. 


Key  F.   M.  120. 


ONWARD  CHRISTIAN  SOLDIERS. 


s 

:s 

s 

:s 

s 

Is 

r  :r 

1  J 
1  ^ 

:r 

PI 

d 

:  PI 

rn 

:  m 

tn 

:n 

f 

If 

t,  :t| 

Hi 

:t, 

d 

1  — 

: 

d 

:d 

1.  On 

-ward 

Chris  -  tian 

sol 

diers, 

March-ing 

as 

to 

war, 

With 

the 

2.  On 

-ward 

then 

ye 

faith  -  - 

fnl. 

Join  onr 

hap 

-  py 

throng, 

Blend  with 

d 

:  Fi 

1  s 

•d' 

di 

:  — 

1 1 

s  :s 

1  s 

:s 

S 

• 

S 

:s 

d 

:d 

id 

:d 

r 

|S| 

•  

s  :f 

1  PI 

:r 

d 

1  — 

• 

PI 

:  PI 

d" 

•  , 

t 

1 

:1 

In 

:fe 

s    :  — 

r 

:r 

|s 

:r 

PI 

:-.f 

r 

r 

d 

:d 

Id 

:d 

ti  :- 

• 

ti 

:t, 

|r 

:t, 

d 

:-.r 

Je  . 

sns 

Go  - 

ing 

on 

be  - 

fore, 

Christ,  the 

Roy 

-  al 

M;is 

Toi 

ces 

In 

the 

tri  - 

nmph 

song ; 

Glo 

-  ry. 

land 

and 

hon 

S 

S 

fe 

:fe 

Is 

:1 

s    :  — 

S 

:s 

i  s 

:s 

S 

r 

r 

r 

:r 

|r, 

s,   :  — 

8| 

:si 

It, 

:8, 

d 

s  :s 

|d>  ts 

1    :-  1-  :- 

1  :s 

f  :s 

1 

:s 

If 

:s 

1 

:s 

If 

:pi 

d  :d 

Id  :d 

d    :-  1-  :- 

d  :d 

d  :d 

d 

Id 

d 

:d 

1  r 

:d 

Leads  a  - 

gainst  the 

foe ; 

For  -  ward 

in  -  to 

bat 

tie. 

See 

his 

ban 

-  ners 

Un  -  to 

Christ  the 

King; 

This,  throng 

;h  connt-less 

a 

ges, 

Men 

and 

an  - 

gels 

PI   :  PI 

|s  :m 

f  :pi 

f  :n 

f 

:  PI 

if 

:pi 

f 

:  PI 

!r 

:r 

d  :d 

1  m  :d 

f    :-  1-  :- 

f  :d 

1,  :d 

f 

:d 

Hi 

:d 

f| 

:f| 

Iff 

:fi 

A.  S.  SuiiLivAH,  Mns.  Doc, 

s  :d' 
d  d 

cross  of 
ours  yonr 

s  :  PI 
n  :pi 


PI 
d 

ter, 
or 

S 

d 


r  :  — 
t, 

flow, 
sing. 
S 
Si 


d  :d 

s,  :si 

On  -  ward 

On  -  ward 

PI  :  PI 
d  :S| 


Id  :d 
jsi  :s, 

Chris  -  tian 
Chris  -  tian 

I  n  :m 
Id  :8, 


;t,.l|  It 


sol 
sol 

f 

r 


Is, 

dier, 
dier, 

f 


:s, 


:si 


r  :r 

6,  :s, 

March  -  ing 
March-ing 

f  :f 
t,  :8, 


|r 
Is, 

as 

as 

If 
It, 


:d_.2 
:8| 

to 
to 

:f 
:8, 


m 

t-  : 

s  :s 

Id'  :t 

d'    :  — 

Is  :- 

f 

:  PI 

|r 

:-.d 

d 

1-  : 

S| 

1-  : 

PI  :m 

If  :f 

PI    :  — 

Id  :- 

d 

:d 

It, 

:-.d 

d 

1-  : 

war, 

"With  the 

cross  of 

Je   -   -  - 

sns; 

Go 

-  ing 

on 

be- 

fore. 

war, 

With  the 

cross  of 

Je   -   -  - 

sus 

Go 

-  ing 

•  on 

be- 

fore. 

PI 

d'  :d' 

1 8  :s 

s     :  — 

Is  :- 

1 

:s 

If 

:-.  PI 

PI 

1-  : 

d 

1-  : 

d  :d 

|r  :r 

PI    :  — 

jm,  :  — 

f, 

:f, 

Is, 

:-  s, 

d 

1-  : 

FOUBTH  STEP.  87 


PATHEE  OP  MBBCIJSS. 

KEY  E.  Beenabd  Schmidt. 


1313 

r  r  — 

V 

B.  t.  cres. 

s  : — 

|8 

:s 

s  : — 

11 

d  : 

-.d|t|  :d^ 

r 

Id  : 

8d  :—  |d  :r 

n  :  — 

If 

:1| 

u  •  — 

:t, 

d  :  — 

d  : 

-.s,|si  :S| 

t, 

1  ii  • 
1  a  • 

°-\\  , —  1  S,    .  Sj 

S]  .l. 

Hi 

•  f, 

r  a 

tiier 

of 

mer  - 

cies 

When  the  day  is 

dawn  - 

ing, 

TTi^-r*        TTT-;n  T 

X 11611           win  1 

pay 

my 

m  • 

:f 

n  :  — 

If 

PI  : 

-pilr  :m 

f 

1  PI  • 

ml.   .   1 

u,  • 

1  r 

* 

d  :■— 

1 

In 

:r 

d  :  — 

• 

s,  : 

-.s|si  :si 

S| 

1  d  : 

df,  :  —  1  n,  :  s, 

d  :1| 

lfl 

f,E.  ^ 

1313 
r  r 

ltl 

S|  :  — 

it, 

ds  :  — 

1 

:f 

PI  : 

-  Is  :f 

PI 

•  ...i. 

1  PI  :  — 

r  :-.r  |  d  :  d 

d  :— 

:s 

I»l 

s.r  :  — 

1. 
1 

•  T 

d  : 

-  Id  :- 

d 

Q,  ♦   

1  s. 

•ti 

VOWS 

to 

thee. 

in  - 

-  cense 

waft 

ed 

on     the  hreath  of 

Mv 

r  'd 

1  ^ 

nit  :  — 

1 

1 

•  s 

•  o 

s  : 

—  |ta:l 

s 

•  II 

Ife  •  

s    •—  s  1  m   •  T 

0        •     tOtll  .JL 

m  •  

Ir 

:f 

S|  :  — 

la 

diS, :  — 

:t. 

d  : 

-  Id  :- 

d 

jtt  :— 

J.      .      4.   1  1  . 

t|  •-.t,  1 1|  .  le. 

S|  :  — 

1  S| 

;  r 

arts. 

f.  A.  ^ 

s  :  — 

It 

s  :  — 

1- 

:f 

PI  : 

-iTT- 

d 

dsi  :— |s,  :si 

li  :- 

Is, 

d  :— 

m  :  — 

1- 

:r 

d  : 

d 

1-  :- 

iiPi,  :  —  1  PI,  J  Pi| 

fl  :- 

|P1| 

heart  - 

felt 

praise 

to 

heaven  shall 

be. 

Yes,        thou  art 

near 

me 

ni  :  — 

Id' 

ta  :  — 

1- 

:1 

s  : 

-|s  :f 

n 

1- 

:     1  : 

• 

d  :  — 

Id 

PI  :  — 

1- 

:f 

s  : 

-Isi  :- 

d 

1-  :- 

:     1  : 

• 

1 

• 

E.  t. 


PI  ;d  |1, 

:t. 

li 

Is,  :- 

1  : 

:    1  : 

:  1 

r's 

s  :1 

It 

:d' 

Si  :pi,  |f| 

:fi 

f| 

|pi,  :- 

r.si :-  |s,  :si 

1|  :- 

Is,  :- 

PI  :d  |1|  :t. 

d  :-  1 

:  PI 

PI  :- 

|m 

:n 

Sleep  -  ing 

or 

wak  - 

ing, 

StiU    doth  thy 

care 

nn  - 

changed  re   -  - 

main. 

If 

ev 

er 

I 

1  : 

PI :-  |pi  :m 

f  :- 

|m  :- 

s   :  PI  if  :- 

PI  :-  1 

:  di 

di  :- 

Is 

:s 

:  1 

1  : 

:    1  : 

1  : 

:  1 

:  d 

d  :- 

In 

:  m 

d'  :- 

It  :.l 

s  :1 

It 

:d' 

d'  :- 

It  :1 

f  :- 

If  :  .f 

PI  :- 

In 

f  :- 

If  :r 

wan  - 

der,  thy 

ways 

for 

sak  • 

ing,  0 

s  :- 

|s  :  .r 

PI  :- 

Is 

s  :- 

Is  :f 

r  :- 

Ir  :.t| 

d  :- 

In 

r  :- 

Ir  :t, 

s  : 
PI  : 

lead 

PI  : 


in 
Id 

me 

Is 


d  :-  Id  :- 


dim. 

s  :-  |n 
r  :-  Id 

gent   -  ly 

s  :-  Id 
t,  Id 


d  :-  |r  : 

d  It,: 

back  a  - 

PI  If  : 
li  : 


s,  :- 


d  :-  I 

d  :-  I 

gain. 

PI  :-  I 

d  :-  I 


-  :-  !( 


88 


FOUBTH  STEP. 


HURRAH  FOR  THE  SLEIGH  BELLS! 
Fajtoie  Cbosbi.  T.  F.  Sewaed. 

KBY  6.  ^ 


n 

.ni,f  :pi 

.r 

|r 

.d 

:8| 

li 

.li  ,d 

:t, 

.t|  ,r 

Id 

.s 

:s 

.8| 

\.ni 

Sl 

.Sl  ,1|  :S| 

.f. 

|f| 

.  Pij 

:ni 

fl 

.fl  ,fi 

:fi 

.fl  ,fi 

1  n, 

.S| 

:s, 

. 

jl.  Hur- 

rah! 

for  the  sleigh 

bells, 

here 

we 

go. 

Jmg, 

jmgle, 

jing, 

jingle. 

jing, 

jing, 

jing; 

A  - 

S2.  Oh! 

now 

is   the  time 

for 

mirth 

and 

glee, 

Jing, 

jing, 

jingle. 

jing, 

jing, 

jing; 

And 

/3.  We  - 

'U 

sing  with  the 

beUs 

in 

choras 

sweet, 

Jing, 

jingle, 

jing. 

jingle. 

jing, 

jing. 

jing; 

We'U 

d 

.d  ,d  :d 

.d 

Id 

.d 

:d 

d 

.f  ,f 

:r 

.r  ,t| 

d 

.  m 

:p\ 

.d 

r 

d 

.d  ,d  :d 

.d 

Id 

.d 

:d 

fl 

•fl  ,fl 

:S| 

.S|  ,S| 

d 

.d 

:d 

.d 

rn 

.ni  ,f 

:  n 

.r 

|r 

d 

:s, 

li 

.li  ,d 

:t, 

.t|  ,r 

Id 

Sl 

.S|  ,1, 

:S| 

.fl 

Ifi 

.pii 

:n, 

fl 

•fl  ,f| 

:fi 

fl  ,fi 

1  pi| 

way 

o'er  the 

white 

and 

drift  ■ 

ing 

snow, 

Jing, 

jingle. 

jing. 

jingle. 

jing. 

yon 

-  der  an 

-  oth  - 

er 

sleigh 

we 

Bee, 

Jing. 

jingle, 

jing, 

jingle. 

jing. 

sing 

till  we 

reach 

the 

vil  - 

Iflge 

street. 

Jing, 

jingle. 

jing. 

jingle. 

jing. 

d 

.d  ,d 

:d 

.d 

Id 

.d 

:d 

d 

.f  ,f 

:r 

.r  ,t, 

Id 

d 

.d  ,d 

:d 

.d 

Id 

.d 

:d 

fi 

.fl  ,f| 

:s, 

.S|  ,S| 

Id 

D.  t 

The 

Eeia 
Oh! 


SOLO. 

s     .8  ,f  :n     .r     |  d 

stars   are       beam  -  ing  bright, 
up      the       steeds  just  here, 
hap  -  py        sleigh -ing  time, 
Inst;  or  may  be  sung  with  voices  to  la. 


who 


.d' 

The 

With- 

We 


.t.pi  : 

.f 

1 

.  m 

:m 

.  PI 

.«,d  : 

.r 

1 

.d 

:d 

.d 

.'s  : 

.8 

1 

.8 

:8 

.8 

".d    .       :  £ 

Id 

.s  ,f  :pi 

.r 

Id 

.d' 

:d' 

.8 

the        rug  - 

ged 

hills 

we 

glide. 

And 

to  join 

U6, 

let 

them 

come, 

We 

would  mind 

the 

win  - 

ter's 

cold. 

On 

.  m  : 

.f 

1 

.  m 

:  m 

.d  : 

.r 

1 

.d 

:d 

.  s  : 

.8 

1 

.  8 

:8 

:s, 

Id 

:d 

d'  .yt 

night  is 
in  this 
hail  it 

.f 

.d 
.1 


1 


.1 


know  the 
such  a 
.f 

.d 
.1 


cold 
ru  - 
with 


.1 

M 

.8 

Eind 

clear, 

WhUe\ 

ral 

deU. 

They  1 

do  - 

light. 

And  ^ 

.f 

1  .m 

:n 

.d 

1  .d 

:d 

:r) 

.1 

1  .s 

:s 

.8  / 

:t  .t 


sing     with  mer 


par 
joy 


8| 


ty 

0U8 
.f 

.r 


Id' 

cheer. 

well. 

night 

In 
Id 
Is 
Id 


f.  G 


n 

.  m  ,f  :  PI 

.r 

|r 

.d 

:S| 

li  .li,d 

:t| 

.t|  ,r 

Id 

.8 

:s 

.S| 

Sl 

.8|,1|  :si 

•  fl 

|fi 

.n. 

:mi 

f|  .fi,fi 

:fi 

.fi,fi 

1  nil 

.8, 

:8, 

.n, 

Hur  - 

rah 

for  the  sleigh 

bells! 

here 

we 

-  go. 

Jing,  jingle, 

jing, 

jingle, 

jing, 

jing. 

jing, 

A 

fd 

d 

.d  ,d  :d 

.d 

Id 

.d 

:d 

d    .f  ,f 

:r 

.r  ,ti 

Id 

.  m 

.n 

.d 

<d 

d 

.d  ,d  :d 

.d 

Id 

.d 

:d 

fi  .fi,fi 

:S| 

.  8|  ,8| 

Id 

.d 

:d 

.d 

FOURTH  STEP. 


89 


m 

m  "f  •  m     T     \  Y  d 

:  Si 

li  .li  .d  tti  .ti.r  1  d 

: —  .r.r 

1  Ifl                     all       *  0 

d 

S| 

.si,l|:si  .f|   |f|  .ni 

:p1i  ' 

f,  .f|,f|:f|  .f|,f||pi| 

: —  .ti,t| 

d,d.t|,t|:d  .t| 

d 

■wa 

J  o'er  the  white  and  drift-ing 

snow. 

Jing,  jingle,  jing,  jingle,  jing. 

Jingle, 

jingle,  jingle,  jing.jiii^ 

jing. 

d 

.d,d:d   .d    |d  .d 

:d 

d  .f,f:r  .r,t|ld 

: —  .s  ,s 

s  ,s  .s  ,s  :s  .r 

m 

d 

.d,d:d  .d   |d  .d 

:d 

fi  .f|,f|:si  .S|,sild 

:—  .S|,S| 

d,d.S|,S|:d  .S| 

d 

KEY  fiiZ 

PI    :-.r  :d 
S|     :-.f| : Pii 

1.  Chime   a  -  gain, 

2.  Chime    a  -  gain, 

d  :-.d:d 
d|  :-.d|:d| 


CHIME  AGAIN. 


H.  R.  Bishop. 


PI  :- 

.r  :d 

f 

:li 

:t, 

d     :—  : 

d 

:-.t,:l, 

s,  : 

-.d  :r 

S|  :- 

.S|:si 

li 

:fi 

:f| 

pii    :—  : 

li 

:-.S|:f| 

pii  : 

-.S|  :si 

chime 

a  -  gain. 

beau 

-  ti 

-  ful 

beUs, 

Now 

your  soft 

mel 

-    o  -  dy 

chime 

a  -  gain, 

beau 

-  ti 

.  ful 

bells, 

Lin 

ger  a  - 

while 

o'er  the 

d  :- 

.ti:d 

d 

:r 

:r 

d     :—  : 

d 

:-.d:d 

d  : 

-.d:t, 

d,  :- 

.r,  :p1| 

fi 

:f| 

:si 

d,    :-  : 

:-.fi:fi 

d,  : 

- .  Piirsi 

PI 

.  r  :  u 

r 

• 

PI 

:-  .r 

:ci 

PI    :- . 

r 

:d 

I 

:li  :t| 

d 

• 

S| 

.S|:fe, 

S| 

• 

S| 

:-.f, 

:p1i 

S|    :- . 

S| 

:si 

1 

li 

:fi  :f, 

pii 

* 

float 

on  the 

wind, 

Bursi 

-ing 

at 

in  -  ter 

vals 

ov  - 

er  the 

sails, 

D.  S. 

Voi  - 

1  ces 

of 

friend-ship 

stUl 

ring 

in  each 

sound. 

deep 

dusk-y 

bay. 

Faint 

-  er 

and 

faint  -  er 

your 

mel  ■ 

0     -  dy 

swells 

D.  S. 

Lone 

-ly 

I'm 

left  on 

the 

wa  - 

ters  to 

weep 

d 

.r  :r 

t, 

d 

:-.d 

:d 

d  :-.t| 

:d 

d 

:r  :r 

d 

d 

•  titl, 

S| 

d, 

:-.d, 

:d, 

d,  :-. 

ri 

:p1i 

fi 

:fi  :si 

d, 

FINE. 

Eiz,  t. 

d 

.t,:l, 

S| 

:d 

:r 

PI 

:f 

:-  .r 

d     :  — 

:s  :s 

1 

:s 

:s 

li 

.S|:f| 

P1l 

:si 

:li 

S| 

:S| 

:-.fi 

m,   :  — 

t.p1 

:pi  :n 

f 

:  m 

:m 

Leav 

ing  a 

train 

of 

af  - 

fee  - 

tion 

be- 

hind. 

An  - 

swer  -  ing 

ech  - 

oea 

that 

Bid 

ding  me 

wel  - 

come 

that 

chime  with 

a 

tear. 

Fast 

fades  the 

land 

and 

your 

sound  dies 

a  - 

way. 

Now 

the  cold 

lamp  of 

night 

Chimes 

of  those 

beau 

-  ti  - 

ful 

bells 

to 

de- 

plore. 

d 

.d:d 

d 

:d 

:d 

d 

:r 

:-.t, 

d     :  — 

sd' 

:td'  :d' 

d' 

:di 

:d' 

fi 

.fi:f, 

d, 

:n, 

:fi 

Sl 

:s, 

:-.S| 

d,  :- 

• 

«d 

:d  :d 

d 

:d 

:d 

/ 

Al2. 

D.  S. 

s 

:f 

:r 

d 

• 

• 

s 

:s 

:s 

1  :s 

:s  .s 

s 

:t 

d's 

• 

PI 

:r 

:t| 

d 

• 

d 

:d 

:d 

d     :  — 

:d.d 

d 

:-.d:r 

• 
• 

gath 

-  er 

a  - 

round, 

CaU 

from 

the 

heart 

every 

wish 

that  is 

dear. 

siJ  - 

vers  the 

deep, 

On 

sails 

the 

bark 

from 

this 

hap-py 

shore, 

d' 

:s 

:f 

n 

n 

:pi 

:n 

f  :in 

:ni.  PI 

m 

:-.f  :f 

«r 

8| 

:s, 

:si 

d 

d 

:d 

:d 

d  :- 

:d.d 

d 

:-.f  :r 

^1 

• 

90 


FOUBTH  STEP. 


EST  Eiz.    M  100  t\dc«. 


EISE,  CYNTHIA,  HISE. 


Hook. 


d  :- 

: — |r  :d  :r 

m  :- 

- : —  1 — : — : 

m  : — 

:— If  :m  :f 

s  :-:-|-:- 

:s 

1  :- 

-:s  11  :- 

-:t 

Kise, 

Cyn  -  thia, 

rise, 

Else, 

Cyn  -  thia, 

rise, 

The 

rud  - 

dy  mom 

on 

;    1    :  . 

:    1    :  : 

d  :— 

: — |r  :d  :r 

m  :— :— 1— :— 

:d 

d  :- 

:d  |d  :- 

-:f 

• 

:    1    :  : 

1 

.    1    .  . 

• 

:    1    :  : 

1 

:    .    1  : 

.  a' 

u'  : — 

•  a'  1  a' : — 

- :  s 

The 

rud  - 

dy  mom 

on 

:    1    :  : 

:    1    :  : 

1    i    '  : 

:    :    1  : 

:  m 

:  m  1  f  :  - 

-If 

Bl2.  t. 

d' :— 

:8  Id':—: 

s 

s  :- 

-:s  |s  :f  :rn 

m  : — 

:-|r  :-: 

sd  :-.r:t,  [d  :- 

-:s, 

d  :— 

:rn  Id  :- 

-: — 

tip  - 

toe  stands 

To 

view 

thy  smil  -  ing 

face. 

Phoebus  on  fleet  - 

est 

cours 

■  ers  bome. 

m  : — 

:m  1  n  : — : 

d 

d  :- 

-:d  |r  :— :d 

d  :— 

:-|t,  :-: 

:    1  : 

• 

s  : — 

:d'  |s  :— : 

s 

s  : — 

- •  a   la  :  •  q 

•  O     1  o    *        •  o 

s  : — 

.  1  .  . 

. 

1 

• 

tip  - 

toe  stands 

To 

view 

thy  smU  -  ing 

face. 

d:— 

:d  Id  :— : 

n 

m  :— 

-:n  It| : — :d 

S|  :— 

: —  1  — : — : 

:    :    1  : 

: 

: 

:    1  : 

• 

m  :-.f  :r  1  n  : — :  d 

PI  :- 

-:s  |n  :— :s 

s  :— 

:pi  |n  : — :s 

f  :Fn  :r  |pi  :— 

:s 

s  :— 

:  n  1  n  :— 

-:8 

PhoebuB  on  fleet  -  est 

cours 

-  ers  borne,  Sees 

none 

so  fair  in 

all       his  race, 

Sees 

none 

so  fair 

in 

sd  :-.r:ti  |d  :— : 

S| 

d  :- 

-:n|d  :— :d 

d  :— 

:si  Isi  : — :si 

Si  : —  :si  Isi  : — 

:d 

d  >— 

:si  Isi  :— 

-  :si 

:    1    :  : 

• 

:    i    :  :tpi 

m  : — 

:d  |d  :— :m 

r  :d  :t|  |d  :— 

:  rn 

m  : — 

:d  |d  :— 

-:  m 

Sees 

none 

so  fair  in 

all       his  race, 

Sees 

none 

so  fair 

in 

:    1    :  : 

1      '  •Bd 
•       1      •  ."U 

•/I.  If].  •     •  H 

.  a\  |ai  . — .  tt] 

S| : —  :S|  |d  : — 

•  u. 

A  .  

u  • 

•  i\.  [f\.  •— 
.  Uj  I  tti  .— 

f.  Et?-D.C.  S. 

:s  |1  :— :s 

f  :m 

:r  1 ds  : — 

s 

s  :f 

f  :— 

:n  If  :— :f 

f  :ni  :f  |s  :- 

:f 

n  : — 

:  r  1  m  :— 

-:s, 

aU 

his  race. 

The 

cir  - 

cling  hours  that 

stay 

be-hind  Would 

draw   iresh  beau  - 

ties 

from 

thine  eye; 

Then 

S|  :— 

:fih't,  :- 

ni 

n  :r 

:m  |f  : — :n 

r  : — 

:de|r  : — :r 

r  :de  :  r  1  m  : — 

:r 

d  :— 

:t,|d  :- 

r  :d 

:t,|ds:- 

1 

1  :- 

-:1  |1  :— :1 

1  :— 

:1  |1  :— :8 

s  : — :s  |s  : — 

:s 

8  : — 

:s  |8  :— 

• 

all 

his  race. 

The 

cir  - 

cling  hours  that 

stay 

be-hind  Would 

draw   fresh  beau  - 

ties 

from. 

thine  eye; 

s,  :— 

:S|  |*-si:— 

ll 

ll  :- 

Hi 

r  : — 

:li  |r:— :si 

S|  :— :si  |s,  :— 

:si 

d  :— 

:s,  Id  :- 

• 

d  :— 

:-|r  :-: 

I'l  • — 

_  •  T  \  A  •  •  V 

~  «  X    1  u  • —  •  1 

— If  •— :— 

e    •  if   I  m  !  

O       •          •  .1  III" 

:  s 

1  :_ 

-  :t 

ah! 

in 

pit 

-   -   -y,  Then 

ah! 

in 

pit  -  -  -y, 

In 

pit  - 

y  to 

man- 

:    1    :  : 

:    1    :  :s, 

d  :— 

n  : — :r  |d  : — 

:d 

d  :— 

:8  If  :- 

-:r 

:    1    :  : 

:    I    :  : 

:    1    :  : 

:    :    1  : 

:d' 

d' :— 

:d'  |d'  :- 

-:s 

In 

pit  - 

y  to 

man- 

• 

:    I  : 

:    1    :  : 

• 
• 

:    1    :  : 

:    :    1  : 

f  :— 

m  If  :- 

-:f 

FOURTH  STEP. 


91 


D.  8. 


d'  :— :—  I— 

: — .  d' 

w  • — 

!  S    1 S    '  — 

*  n 

r  :  PI 

•  f     1  in  • 

a'  • — 

:  s  1  s  : — 

:  ni 

■F 
I 

:  PI 

;  r  1  u  : — 

No 

long  - 

in 

vis 

ions  lie 

No 

long  - 

ftr  wTfl'nnAH 

lATlH  Ha 

d 

:— :d 

d  :— 

:fn  In  : — 

:d 

t|  :d 

:r  Id  :— 

:d 

d  :— 

:pi  Im  : — 

:d 

r 

:d 

:t,  Id  :- 

: — :8 

s  : — 

:d'  Id' :— 

:s 

s  : — 

:s  |s  : — 

:s 

s  : — 

:d'|d'  :— 

:  s 

s 

:f  IPi  :— 

kind, 

No 

long  - 

er  wrapped 

in 

vis  - 

ions  lie, 

No 

long  - 

er  wrapped 

in 

vis 

ions  lie. 

m:-:-  |- 

: — :  n 

m  : — 

:d  Id  :— 

:d 

8  : — 

:s,  Id  :- 

•  m 

n  : — 

:d  Id  :— 

:d 

8 

:s,|d  :- 

WITH  THE  KOSY  LIGHT. 


KEY  C.    M.  120, 

:n  .f 

8  :d> 

|r'  :m' 

f  :1 

1-    :1  .1 

:d  .r 

m     :  m 

If  :8 

1  :f 

1—   :f  .f 

l.With  the 

ros  -  y 

light  of 

mom-ing. 

Where  the 

2.  By  the 

wood-land 

streams  we'll 

wan  -  der, 

Till  the 

:di  .d' 

d'  :d' 

Id'  :d' 

d'  :d' 

1—  :d'.d' 

:d  .d 

d  :d 

Id  :d 

f  :f 

1—   :f  .f 

1  .8  :s  .1  It  :d'.r' 
f  .f  :f  .f  If     :m  .f 

merry  birds  awake,  And  the 
merry  bird  has  gone  To  its 

t  .t  :  t  .d'  I  r'  :  d'  .d' 
s  .8  : 8  .3  I  8     :d  .d 


T.  F.  Sbwabd. 

n' .d' :d' .r' I  m'  :m.f 
8  .n  :ni  .f  1 8     :d  .r 

laughing  waters  flow,  We  will! 
qniet  leaf-y  nest,  Andthe( 

d' .d':d'.d'|d'  :d'.d' 
d  .d  :d  .d  Id  :d.d 


FINK 


8  :d' 

|r' 

:m' 

f 

:1 

1-    :1  .1 

1  .8 

:s  .1  It 

:d' 

.r' 

d'  :— 

n     :  n 

If 

:8 

1 

:f 

1—    :f  .f 

f  .f 

:f  .f  If 

:n 

•f 

n     :  — 

haste  with 

joy 

and 

glad  - 

ness. 

Singing 

gayiy 

as  we  go, 

as 

we 

go- 

gold  -  en 

sun 

-  beams 

dy  - 

ing, 

Gently 

linger 

in  the  west. 

in 

the 

west. 

d'  :d' 

Id' 

:di 

d' 

:d' 

1—  :d'.d' 

t  .t 

:t  .d'  |r' 

:  8 

.8 

s      :  — 

d  :d 

Id 

:d 

f 

:f 

1—    :f  .f 

8  .8 

:  8  .8  1 8 

:  8 

.8 

d     :  — 

G.t 
:tpi.n 

:Bd.d 

We  vna[ 
Then  the  (' 

:r's  .8 

:»d  .d 


f  .r  :r  .m  |f  :8  .f 
r  .ti  :t|  .d  |r      :n  .r 

carol  to  the  breeze,  Where  the 
fairies  tripping  light,  To  the 

8  .8  :s  .8  |s      :&  .8 

8|  .8|  :8|  .8|  |8|       :8|  .S| 


m  :S|  .d  I  PI  :f  .m 
d     :S|  .S|  I  8|     :8|  ,S\ 

old   for  -  est  trees  Wave  their 
fields  say  good-night,  With  a 
8      :pi  .PI  1 8      :8  .8 
d     :d  .d  Id     :d  .d 


r  .t|  :t|  .d  I  r     :m  .r 

S|  .Si  :si  .8|  I  S|     :s|  Si 

branches  in  the  ray  Of  the 
footstep  glad  and  free  We  will 

f  .r  :r  .pi  |f  :s  .f 
S|  .8|  :S|  .8|  1 8|     :S|  .S| 


d     :d  .d  |d  :m  .n 

8|     :pi|.f|  I  S|  :d  .d 

bright  king  of  day.  And  th« 

bound  o'er  the  lea  In  our 

PI     :d  .1  I  PI  :s  .8 

d,    :d,.d,  Id,  :d  .d 


f. 

c. 

f  .r  :r  .PI  |f      :s  .f 

PI 

:S|  .d  1  PI      :f  .PI 

r  .t|  :t|  .d  |r 

:pi  .r 

r  .t|  :t|  .d  1  r     :  n  .r 

d 

:S|  .Si  |8|      :8|  .S| 

8|  .8|  :8|  .8)  |S| 

:s,  .8, 

: — 

music  from  the  dell.  Where  the 

youn^ 

5  lil  -  ies  dwell.  Shall  be 

echoed  far   a  -  way. 

far   a  - 

way. 

cheerful  homes  so  dear, We  will 

sing 

sweet  and  clear.  Till  the 

welkin  shall  resound 

with  our 

glee. 

s  .8  :s  .8  |s      :s  .8 

8 

:pi  .m  1 8      :s  .s 

f  .r  :r  .n  |  f 

:s  .f 

n>t     :  — 

S|  .S|  :S|  .8|  1 8|     :  S|  .S| 

d 

:d  .d  Id      :d  .d 

8|  .S|  :8|  .S|  1  8| 

:si  .8, 

*iSi     : — 

D.  0. 


FOURTH  STEP. 
VIRTUE  WOULD  GLORIOUSLY. 

EST  C. 


1 
1 

• 

• 

• 

1 

* 

• 

1  : 

d' 

•  - 

It 

:i 

Vir  - 

tne 

would 

8 

:  — 

:d 

1 

:1 

11 

:s 

f 

;m.f 

Is  :f 

PI 

:fe 

Is 

8 

Vir 

-  -  - 

tne 

would 

glo 

-  ri  • 

ons 

-  ly 

and 

for  - 

ey  -  er 

shine 

By 

her 

»wn 

Pi' 

:in' 

:r' 

d' 

:t  .d' 

|r' 

:d' 

t 

:8 

Id'  :— 

1 

:-  .1 

11 

:1 

glo 

■    ri  - 

OTIS  - 

ly 

and 

for  - 

ev 

er, 

ev  - 

shine 

By 

her 

ra  - 

diant 

8 

:b 

Id' 

:t 

1 

:s 

f 

:fe 

8 

• 

Id 

f 

:f 

If 

:r 

ra  - 

diant 

light, 

By 

her 

own 

ra  - 

diant 

light, 

Though 

gnn, 

and 

moon, 

and 

r'     :-  1- 

:d' 

t 

:d' 

|r'  : 

• 
• 

1  : 

d'     :  — 

It 

:s 

Ught, 

her 

ra  - 

diant 

light, 

• 

Though 

moon. 

and 

r     ;  r      j  n 

:fe 

S 

:1 

It  : 

d' 

It  :s 

n'  :- 

1 

:r' 

stars    were  in 

the 

deep 

sea 

sunk, 

Though 

moon  and 

stars. 

Though 

m'    ;—  1 

:d' 

f 

In'    :  — 

r' 

1-  rr* 

d'  :- 

1- 

stars 

were 

in 

the 

deep 

sea 

sunk. 

d<     :s  |d< 

:ta 

1 

:t 

Id'     :  — 

:d> 

It  :t 

d'  :— 

1- 

• 

mooii,  and  stars 

were 

in 

the 

deep, 

the 

deep  sea 

sunk. 

zinr  C.   Bound  in  two  parts. 

Staccato. 

d'         :d'          It  .le 

:t 

11 

•1 

Is 

.fe  :s 

:f 

Trip,  trip, 

fai  . 

ries 

light, 

1  Dane 

ing 

aU 

the  night. 

1  "Keath  the 

n  .re  :n 

r 

:8 

Id 

* 

Id 

:d 

|r  . 

de  :r 

■tars  BO  bright, 

Here 

and 

there. 

lid 

k  la 

la 

la  la. 

f  :f 

m  .re 

:  m 

IL 

:1 

Is 

.fe  :8 

It 

:t        Id'  : 

la  la 

la, 

la 

la 

la 

la* 

iLa 

FOUBTH  STEP. 


93 


SEEK  THE  TENDER  SHEPHERD. 


KEY  D. 

S,  0. 

B. 

Mart  C.  Sewabd. 

d'  :— 

:t 

Id'  :1 

s  :n  : —  | —  : —  : 

d'  :  — 

:t 

r' 

:d'  :1 

s  :  — 

: 

n  :  — 

:f 

Is  :-:f 

rn  :d  :— '—  :— : 

1  :  — 

:se 

t 

:1  :f 

m  :  — 

1.  Seek 

the 

ten   -  -  der 

Shepherd, 

Seek 

him 

lit 

-   -  tie 

lamb; 

2.  He 

wiU 

light  your 

pathway, 

Wand  - 

'ring 

lit 

-  -  tie 

lamb; 

3.  You 

find  the 

Sheperd, 

Hap  - 

-  py 

ut 

-  .  tie 

lamb; 

d  :  — 

:r 

1  PI  : —  :f 

d  :d  :— 1—  :—  : 

fi 

:f|  1 

fl 

:-:f, 

d  :  — 

:-!-  :-  : 

r  : —  :s   |t  :  — 

:s 

r  : — 

:s   It   :  — 

:s 

rn  :  — 

:s   Id'  :— :8 

m  :  — 

:8    Id'  :—  :8 

t,  :-  :t,  |r  :- 

:t, 

ti  :- 

:t,  |r  :- 

:t, 

d  :  — 

:  m  1  m  : —  :  m 

d  :  — 

:  m   1  m  :—  :m 

If         you've  not 

al  - 

read 

y  found 

him, 

Seek 

tie  stars  whose 

rays 

have  crowned  him. 

Through  dark  vrood 

and 

thorn  - 

y     bri   -  - 

ar. 

On    -  - 

ward,  up   -  ward. 

ev    -  - 

er     high   -  er, 

Dp    -    ward,  tiU 

the 

Ught 

grows  clear  - 

er, 

Fold 

and    Sheph  -  erd. 

near  - 

-  er,    dear   -  er. 

S|  :—  :si  |S|  :  — 

:8| 

S|  :  — 

:s,  |si  :  — 

:s, 

d  :  — 

:d  Id  :— :d 

d  :  — 

:d    Id  :—  :d 

1  :- 

:1  11 

.:—  :1 

s   : —  : 

f  :  — 

:f  If 

:—  :f 

m  : —  : 

Seek 

it  lit 

-    -  tie 

liimb, 

Wand 

-  'ring  lit 

-    -  tie 

lamb, 

Hap  - 

py  lit 

-    -  tie 

laiub, 

f  :  — 

:f  If 

:-  :f 

d  :-: 

d'  :  — 

:s 

f 

:  m 

:r 

d  :-:-!- 

n  :  — 

:pi 

r 

:d 

:t, 

d 

Seek 

it 

lit 

tie 

lamb. 

Wand  ■ 

'ring 

Ut 

tie 

lamb. 

Hap  - 

py 

lit 

tie 

lamb. 

d  :  — 

:d  1 

S| 

:8| 

d  :-  :-  1- 

NOW 

THE  WINTRY 

STORMS 

ARE  O'ER. 

KEY  C. 

T.  F.  Sewabd. 

m  :re 

:m 

Is  :- 

:d' 

d'  :t 

:d  11 

r  :de  :r 

If  :-:l 

S|  :fe 

:s   1  m  : —  : — 

d  :  — 

:d 

1  m  :  — 

:n 

f  :  — 

:f    If  — 

t|  :lei  :t| 

Ir  :-:f 

n  :re 

:rn  |d  :— :  — 

1.  Now 

the 

win  - 

-  try 

storms 

are  o'er, 

Spring  un 

-  locks  her 

ver    -  - 

dant  store; 

2.  Now 

re  - 

spon  - 

sive 

through 

the  grove, 

Soft   -  -ly 

tuned  to 

Spring 

and  love; 

s  :  fe 

:s 

Id'  :- 

:  s 

1  :se 

:1  Id 

s    : —  :s  , 

Is  :—  :t 

d'  :  — 

:d'  Is   :—  :— 

d  :  — 

:d 

Id  t_ 

:d 

f  :  — 

:f   If   :— :  — 

s   : —  :8 

Is  : —  : s 

d  :  — 

:d   Id  :— :  — 

n  :re 

:m 

Is  :- 

:d' 

d'  :t 

:d' 

11 

t  :le 

:t 

1  n'  :  — 

:r' 

d'  :  — 

:d'  |d'  :—  :— 

d  :  — 

:d 

Im  :- 

:  m 

f  :  — 

:f 

If 

r  :  de 

:r 

Is  :- 

:f 

rn  :  — 

:f    In  :—  :  — 

Smil  - 

ing 

pleas  - 

ure 

crowns 

the 

day, 

Sweet  - 

ly 

breathes 

the 

May, 

the  May. 

Ech  - 

0 

with 

her 

sport  - 

ive 

lay, 

Sweet  - 

ly 

sings 

of 

May, 

sweet  May. 

s  :fe 

:s 

Id' 

:ta 

1  :se 

:1 

Id' 

s  :  — 

•  s 

Is  :- 

:s 

s   :  — 

:1    Is  :-  :- 

d  :- 

:d 

Id  :- 

:d 

f  :  — 

:f 

s  :  — 

:  s 

Is,  :- 

:si 

d  :  — 

:d   Id  :—  :  — 

94 


FOUBTH  STEP. 


xxT  Bjz. 


REST,  WEAEY  PILQEIM. 


S.  S.  C,  or  T.  T.  B.,  or  §.  0.  B. 


From  DoNizETn. 


May  be  swnjg  in  key  G,  by  8.  C.  T.,  Tenor  singing  the  lowest  part  an  octave  higher  than  virHteti. 


m   :  — 

1 

1  m 

:  PI 

re  :  — 

1 

1  n    :  — 

d    :  — 

1  d  :r 

PI    :  — 

1  J 

Id 

n    :  — 

1 

1  PI   :  m 

s,  :— 

|B| 

:s, 

fe,  :- 

Is,  :- 

li  :- 

lla,  :lai 

s,    :  — 

Is, 

d    :  — 

|r  :r 

1.  Rest, 

wea 

-  ry 

Pil    -  - 

grim ! 

from 

toil     re  - 

pos  - 

ing. 

Night's 

dark'-ning 

2.  Best, 

wea 

-  ry 

Pil    -  - 

griml 

tiU 

mom-ing's 

break 

ing. 

And 

birds  a  - 

d,  :  — 

Id, 

:d, 

d,   :  — 

Id,   :  — 

f|  :- 

Ifi  :fi 

d,    :  — 

1  n. 

s,    :  — 

|sei  :sei 

cres. 

m   :  — 

If 

• 

• 

r    :  — 

1  n  :r 

d    :  — 

Id  : 

r    :  — 

Ir 

:n 

d    :  — 

Id  : 

d  :— 

|r 

t,  :- 

Id  :t, 

d    :  — 

Id  : 

t,  :- 

It, 

:t, 

1|  :- 

Hi  : 

shad   -  - 

OWB 

round 

thee  are 

clos   -  - 

ing; 

Drear 

is 

the 

path   -  - 

way 

round 

thee 

bUthe 

songs  are 

wak  - 

ing; 

Hark! 

thro' 

the 

for    -  - 

est 

1| 

|r, 

s,    :  — 

|8i  :s, 

n,  :  — 

In,  : 

S|     :  — 

Is, 

:sei 

li  :- 

11.  : 

n  :- 
d  :- 

frown 
chill 

li  :- 

d  :- 
la,  :- 

Rest, 

f|  :- 


|Pi  :f 

r  : — 

|r  : 

PI  : — 

|re  :n 

s  :  — 

If  :n 

r  :  — 

1  m  :r 

d  :  — 

Id  : 

Id  :r 

ti  :- 

It,  : 

d  :  — 

Id  :d 

PI  : — 

1  r  :de 

r  :li 

Id  :t, 

d  :  — 

Is,  : 

ing   be  - 

fore 

thee! 

No 

stars  on 

high 

to 

guide 

and  watch 

o'er 

theel 

winds  are 

blow  - 

iBg! 

Here, 

there  is 

friend  - 

ship  and 

kind 

wel-oome 

glow  - 

ing! 

111  :r, 

8|  :  — 

Is,  : 

s,  :  — 

|fe,  :s, 

ta, :  — 

111  :si 

fi  :- 

Is,  :f, 

PI,  :  — 

1  "i  : 

'P'P 

Id  :r 

n  :  — 

Id  : 

d  :- 

Id  :r 

PI  :  — 

1-:- 

d  :  — 

I-: 

1  lai :  la. 

si  :  — 

Is,  : 

li  :- 

111  :li 

S|  :  — 

!-:- 

PI,  :  — 

wea-ry 

PU  - 

grim! 

Rest, 

wea  -  ry 

Pil 

grim ! 

|f|  :fi 

d|  :- 

|m,  : 

f|  :- 

Ifi  :fi 

d,  :- 

1-:- 

di  :- 

1-:- 

I-: 

KEY  C.    Round  in  two  parts. 

d<     :t      :1      Is  :fe 

I  Lil   -   ies        and      |  ro  -  ses. 


{I 
II 


n     :re     :m     If  :fe 

gar  -   land      we're   j  weav  -  ing 


f    :  PI    :  re 

true   hearts  en  - 


n    :  — 

shrined; 


:s      ll  :s 

the       1  pure  and 


to 


n      :  — 

night. 


s     :1  :t 

What  could  be 


:fe 

the 


s  : 

bright, 
* 

m 

Em 


:$  :f 

blem  of 


s      :fe  :f 

Twine  in  the 


m 

Tir 


:re 

tue 


:pi 

in 


d'    :t     :d'    ir'    :d'    :t     Id'    :—   :  — 

fair  -  er       than  I  these  flowers  com  - '  bined. 


FOUBTH  STEP. 


KEY  G. 


THE  MILLEB. 


d 

.,8| 

1.  To 

wan  - 

der 

2.  We've 

leamt 

it 

3.  We 

Bee 

thifi 

4.  Ohl 

wan  - 

d'r 

.,S|  :mi  .f| 


is  tke 
from  the 


S| 

mil 

flow 
in 

is 


.,li  :si  .d 
:  .d 

l^r's  joy,  To 
ing  stream,  We've 
the   wheels,  We 
my   joy,  Oh! 


n 
d 

wan  - 
leamt 

see 

wan  - 


.r 

.fi 


.,r  :d 
.,S|  :p1| 

der   is  the 

it      from  the 

this  al    -  BO 

d'r  -  ing  ever 


n 

8, 

mil 
flow 
in 
is 


ZoiiUJEB. 

.,f  :n  .d 
.,li  :8|  .d 

ler's  joy.  To 
ing    stream,  The 
the    wheels,  the 
™y   joy.  Oh! 

:  .p> 
:  .d 


:r 

d 

• 
• 

.8, 

r 

.r 

:pi  ,r 

.de,r 

t, 

.r 

:s, 

.8, 

d 

:t, 

d 

• 
• 

.S| 

ti 

.t, 

:t,' 

.ti 

S| 

.S| 

:S| 

.S| 

wan' 

der. 

The 

mU.  - 

lers 

all 

do 

love 

to 

roam, 

To 

flow 

ing 

stream. 

It 

neith 

-er 

rests 

by 

day 

nor 

night, 

Its 

bus 

y 

wheels, 

Which 

do 

not 

turn 

a 

lone 

by 

day, 

But 

wan 

der 

ing. 

Fare  - 

well 

my 

pa  - 

rents. 

friends  and 

home, 

Let 

S 

:f 

n 

.S 

f 

.S 

:f 

.S 

f 

.8 

:f 

.8 

Si 

:S|  • 

d, 

• 

.Si 

S| 

.8, 

:8| 

.8| 

S| 

.8, 

:s, 

.8, 

r 

.r 

;m  ,r 

.de,r 

t,  .r 

:8| 

.S| 

1| 

.t, 

:d 

.r 

n 

Mr 

:d 

.  m 

ti 

.t, 

:t, 

.t, 

,S|  .8, 

:8| 

.8, 

1| 

.t, 

:d 

.r 

m 

:d 

.d 

leave 

their 

vil  - 

lage. 

house  and 

home. 

To 

leave 

their 

vU  - 

lage, 

house 

and 

home, 

To 

course  it 

fol  - 

lows 

with  de 

light. 

Its 

course  it 

fol  - 

lows 

with 

de  - 

light, 

The 

keep 

it 

up 

all 

night  so 

gay, 

But 

keep 

it 

up 

aU 

night 

so 

gay. 

The 

me 

on  - 

to 

the 

wide  world 

roam. 

Let 

me 

un  - 

to 

the 

wide 

world  roam. 

And 

f 

.8 

:f 

.8 

f  .8 

:f 

.S| 

1. 

•t, 

:d 

.r 

n 

:d 

.d 

.S| 

:si 

.8, 

S,  .S| 

:si 

.S| 

1| 

.t, 

:d 

.r 

n 

•,r 

:d 

.d 

wan 
flow 
bu 
wan 

r 


:t, 
:si 

der, 
iag, 
By. 
der, 

:8 
:s, 


8 
t| 

wan 
flow 
bu 
wan 

r 


:t, 
:si 

der, 
ing, 

sy. 

der, 

:s 
:8, 


8  :t| 

ti  :8i 

wan  ... 

flow  -     -  ing, 

bu  -      -  By, 

wan  ... 

r  :f 

8|  :s, 


8| 

der. 

stream. 

wheels. 

der. 

ni 


KEY  C.   Bound  in  fonr  parte. 

* 

s  .fe 

:8 

.fe 

:s 

r 

.re 

:m 

In  .re 

:n 

Soh,  fe, 

aoh. 

I  soh. 

fe, 

soh, 

re. 

me, 

1  me,  re. 

ma. 

di  .1 

:s      .  n 

Id' 

.1 

:s 

.  m 

Id 

.d  ,d 

:  m  .8 

Id' 

• 
• 

Now  be 

-    wars  and 

sing 

with 

care. 

And 

1  keep 

ev  -  'ry 

voice  in 

1  tune. 

96 


FOUBTH  STEP. 


MURMURING  BROOKLET. 


Mabt  G.  Sewasd. 
sisnr  B{2* 

8,  :d  :t|  |1|  :r  :d 

Murm'ring  brook-let 

n,:-  :-  jf,  :-  :- 

t,  :1,  :t|  |d  :-  :m 

gent  -  ly   flow  -  iag, 

-  :-  :-  IPi,:-  :- 

s,  :d  :t|  |1|  :r  :d 

Wind  -  ing  free  the 

PI,:-  :-  |f|  :-  :- 

t^l,  :t,|d  :-  :- 

fields  a-mong. 

-  :-  :-  |pi,  :-  :- 

t.pi:-  :-  |f  :-  :- 
r.S|:d  :t,  |1|  :r  :d 

Sweet  and  pure  as 

«.d:-  :-  |1  :-  :- 

S|  :-  :-  |1|  :-  :- 

s,  :-      1-  :-  :- 

s, :-  :-  |1,  :-  :- 

d, :-  :-  If,  :-  :- 
-  :-  :r  |d  :-  :- 

S|  :-  :-  1  d,  :-  :- 
m  :-  :-  |f  :-  :- 

d,:-  :-  If,  :-  :- 
-  :-  :r  |d  :-  :- 

s,  .-  .-  |a,  .-  .- 

Bjz 

ds|:"d  :t,  |l|jr  :d 

Glad    and  gay  its 

i,Pi,:-  :-  If,:-  :- 

".a  .-  .-  1 1,  .-  .- 
t,  :1|  :t|  jd  :-  :pi 

work    ful  -  fil    -  ing, 

-  :-  :-  |Pi,:-  :- 

t,  :1|  :t,  |d  :-  :n 

bub  -  bling  fountain, 

8  :-  :-  1-  :-  :- 

S|  :d  :t,  11,  :r  :d 

Sing  -  ing   soft  its 

s  :-  :-  11  :-  :- 

t,^,  :t.  Id  :-  :- 

rip  -  pling  song. 

ds,  :-  :-  U, :-  :- 

s,  :-  :-  1-  :-  :- 

8i  :s  :f  1  PI  :r  :d 

d  :-  :_  If.  :_  :_ 

f.  El2 

t,  :1,  :t,  |d  :-  :% 

cloud    or    sun.  Tis 

-  :-  :-  h,:-  :d.S| 

s,  :s  :f  1  n  :r  :d 

^d,:-  :-  If,:-  :- 
t,  :d  :1,  |s,  :1|  :t, 

on  -  ward  push  -  ing 

t,  :d  :1|  |S|  :1,  :t, 
t,  :d  :1|  |s,  :1|  :t, 

on  -  ward  push  -  ing 

t,  :d  :1|  |s,  :1,  :t. 

S|  :-  :-  |d| :-  :- 
d  :pi  :1  |s  :n  :d 

Ceas  -  ing    not  when 

d  :n  :1  |s  :ni  :d 
d  :ni  :1  {s  :m  :d 

Ceas  -  ing  not  when 

d  :pi  :1  |s  :pi  :d 

8,  :d  :t,  |1|  :r  :d 

Car  -  ing   not  for 

n,:-  :-  |f,  :-  :- 

d  :pi  :1  |s  :n  :d 

roll  -  ing,    rush  -  ing, 

d  :pi  :1  |s  :pi  :d 
d  :pi  :1  |s  :m  :d 

roll  -  ing,    rush  -  ing, 

d  :pi  :1  |s  :pi  :d 

s,  :-  :-  11,  :-  :- 
d,  :-  :-  If,  :-  :- 

s,  :-  :-  1-  :-  :«i,S| 

 'Tis 

s,  :-  :-  Id,  :-  :% 

tjjd 

:li 

Is,  :- 

:s. 

d  :n  :1 

|s  :pi 

:d 

t,  :d  :l, 

|si  :1,  :t| 

d  :pi  :1 

s  :pi 

:d 

t,  :d  :1, 

Is,  :- 

:s 

once 

be 

•Tis 

whirl  -  ing. 

twirl  - 

ing. 

wind  -  ing, 

turn  -  ing, 

Rest  -  ing 

not 

till 

work  is 

done. 

t|  :d 

:1| 

Is,  :- 

:s. 

d  :pi  :1 

|s  :n 

:d 

t,  :d  :1, 

|S|  :1,  :t| 

id  :n  :1 

s  :pi 

:d 

t,  :d  :1, 

Is,  :- 

:s 

t|  :d 

:li 

Is,  :- 

:s. 

d  :pi  :1 

|s  :m 

:d 

t,  :d  :1, 

|si  :1,  :t| 

d  :pi  :1 

s  :pi 

:d 

t,  :d  :1, 

Is,  :- 

:s 

once 

be 

-  gun, 

'Tis 

whirl  -  ing, 

twirl  - 

ing, 

wind  -  ing. 

turn  -  ing, 

Eest  -  ing 

not 

tiU 

work  is 

done. 

t|  :d 

:1| 

Is,  :- 

:s. 

d  :pi  :1 

|s  :pi 

:d 

t,  :d  :1, 

|si  :1,  :t, 

d  :pi  :1 

Is  :pi 

:d 

t,  :d  :1, 

Is,  :- 

:s 

s  :d'  :t   |1  :r'  :d' 

Mur  -  m'ring   brook  -  let 

p,  :_:_|f 

t  :1    :t   Id'  :—  :  pi' 

gent   -    ly    flow   -   -  ing, 

s  :d'  :t   |1    :r'  :d' 

Wind  -  ing    sweet  the 

PI  :— :—  If   :—  :  — 

t  :1    :t   Id'  :—  :  — 

fields       a  -  mong; 

_:_  :_  In  :_  :_ 

d  :-:-|l  :-:- 

s  :-:-|l  :-:- 

d  :-:-|f, 

8|  :—  :—  |d  :  —  :  — 

d  :-:-|f,  :-:- 

FOUKTH  STEP. 


97 


Bl2.  t. 

tn  :—  :—  |f  :—  :— 

—  :—  :r  |d  :—  :— 

PI  :—  :—  If  :—  :— 

—  :—  :r   |d  :—  :S| 

'Tis 

rsi  :d  :t|  |1|  :r  :d 

Sweet     and     pure  as 

t|  :1,  :t|  |d  :—  :n 

bub    -    bling  foun    -  tain, 

s,  :-  :-  Id  :-  :- 

s,  :d  :t|  |1,  :r  :d 

Sing  -  ing  soft  its 
Loo  

t|  :1,   :t,  |d  : —  :pi, 

rip     -    pUng  song.  'Tis 

s,  :—  :—  jd  :—  :d 

  'Tis 

8,d,:_  :_  If,  :_  :_ 
r  :m  :f  |pi  :r  :d 

W  ILITl            1 11          L  W  IXi      -  111k, 

S|  :—  :s,  is,  rn, 
t|  :d  :r  |d  :— :d 

whirl  -  ing,  twirl    -  ing, 

S|  : —  :s,  |d|  : —  :d| 

S|  :—  :fi  In,  :r,  :d. 

d,  :-  :-  If,  :-  :- 
r  :ni  :f  |n  :r  :d 

XVcou             AXlg      UUb  tin 

S|  :—  :s,  |s,  :—  :pi, 
t,  :d  :r   jd  :— :d 

Rest   -   ing   not  tiU 

s,  :—  :si  Id,  :  — :d. 

s,  :—  :f|   |pi,  :ri  :d| 

t,  :1,  :t|  |d  :—  rs, 

WUIQ      -    Ulgf     bum  • 

f,  :—  :f|  In,  :—  :mi 
r  : —  :r    |d  : —  : d 

wind   -  ing,   turn    -  ing, 

s,  :—  :si   |d,  :—  rd. 

d  :1,  :t,  Id  :—  :d 

Tirr^i'lr                            /J  r\'r\  C\ 

f,  :  —  :f,  |pi|  :—  : 
r  : —  :r  |d  : —  : 

work       is  done. 

s,  :—  :s,  |d|  :—  : 

t,  :d 

:r. 

Id 

:r 

:re 

PI  :  f  :  fe  1  s    :  —  :  t. 

d  :  — 

:-|d 

d  :  — 

flow 

for 

-  ev 

•  er 

mur  -  m'ring  brook  -  let, 

with 

thy 

song. 

• 

• 
• 

1 

• 
• 

:     :     1     :  : 

PI,  :  — 

:—  In,  :—  :  — 

n,  :  — 

• 

1 

• 

• 

:     :     1     :  : 

d  :  — 

s,  :  — 

with 

thy 

song. 

• 

1 

:     :     1     :  : 

d,  :- 

:-|d| 

d,  :- 

OH,  WIPE  AWAY  THAT  TEAR. 

KEY  C.    M.  108. 


:s 

s  :— 

:s  jl  :t 

:d' 

s  :— 

:—  1  PI  :—  :s 

8  :— :f  If  :— 

:  PI 

f  :—  :— 

!-:-  :f 

PI  ;f 

:s  |1  :t 

:d' 

:ni 

PI  :— 

:  P)  |re  :— 

:re 

m  :— 

:— Id  :— :m 

PI  :—  :r  |r  :— 

:de 

r  : —  : — 

1-  :-  :r 

pj  : — 

:  PI  |re  :— 

:re 

l.Oh, 

wipe 

a  -  way 

that 

tear, 

love.  The 

pearl  -  y  drop 

I 

see; 

Let 

hope 

thy  bo  - 

Bom 

2.Tes, 

when 

a  -  way 

from 

thee, 

loVfe,  Sweet 

hope  shall  be 

my 

star; 

We 

do 

not  part 

for 

\3.At 

close 

of  part  - 

ing 

day. 

love.  When 

yon  bright  star 

is 

set; 

Still 

meet 

me  while 

a  - 

'4.1'll 

watch 

the  set  - 

ting 

star, 

love,  And 

think  I  look 

on 

thee; 

And 

thus. 

tho'  sund  - 

'red 

3  : — 

:s  |fe  :- 

:fe 

s   : — 

: —  1  s  :—  :  s 

s  :—  :s  |s  :— 

:s 

3  : —  : — 

1-:-  :s 

s  :— 

:s  |fe  :— 

:fe 

:d 

d  :— 

:d  jd  :— 

:d 

d  :— 

:— Id  :-:d 

S|  :—  :  s,  1  S|  :— 

:si 

S|  :—  :— 

i-  :-  :s, 

d  :— 

:d  Id  :- 

:d 

8   : — 

:-|d'  :- 

:di 

Pi'  :— 

:pi'  If  :pj 

:re' 

Pi'  :— 

:-  Id'  : 

—  :d' 

r'  :—  rde'lr'  :— 

:  m' 

d'  |_:_ 

PI  :— 

:-|m  :- 

:  PI 

3  : — 

:s   |1  :s 

:fe 

3  :— 

:-  |Pi 

—  :  PI 

f  :—  :pi  If  :— 

:  s 

m  1-:- 

cheer. 

love. 

Let 

hope 

thy  bo  - 

som 

cheer, 

love. 

Ab 

yon    bright  star 

we 

see. 

aye, 

love. 

We 

do 

not  part 

for 

aye, 

love. 

I'll 

wel  -  come  thee 

a  - 

far. 

way, 

love, 

Still 

meet 

m«  while 

a  - 

way. 

love. 

'Mid 

scenes  we'll  ne'er 

for  - 

get. 

far, 

love. 

And 

thus. 

tho'  sund  - 

'red 

far. 

love, 

How 

near    our  hearts 

may 

be. 

s    : — 

:-|s  :- 

:s 

d'  :— 

:di  |d'  :— 

:di 

d'  :— 

:-  Is  : 

—  :s 

3  :—  :s   Is  :— 

:  3 

s   :-:  1-:- 

d  :— 

:-|d  :- 

:d 

d'  :— 

:d'  Id'  :— 

:d' 

d'  :— 

Id 

—  :  s 

3  :—  :s   |s  :— 

:s 

d  :-:  1-:- 

98 


FOUBTH  STEP. 


OUT  IN  THE  SHADY  BOWERS.) 


T.  F. 

s. 

KEY  AIZ. 

S| 

:fe, 

:s, 

ti  .1| 

:li  .se, 

:1| 

r 

:  de 

:r 

nil 

:re, 

:f1i 

fl  .fi 

:fi  .fi 

:fi 

fl 

:ni 

:f| 

1.  Out 

in 

the 

shad-y 

greenwood  bowers. 

BaLm 

-  y 

the 

2.  On 

mos 

-  By 

banks  where  blossoms  creep, 

From 

ev  - 

-  ery 

a 

•  A 
.  U 

•  a 

d  .d 

:d  .d 

*  A 

•  u. 

S| 

:s, 

:s, 

d 

:  d 

:d 

fi  .fl 

:fi  .fi 

'h 

S| 

:S| 

:  Si 

Si 
"1 

:si 

ti  .1, 

:li  .se, 

:li 

Si 

:li 

:ti 

m. 
I'll 

.  rei 

:ni 

fi  .fl 

:fi  .fi 

:f, 
•  -^1 

fl 

:fi 

:fi 

Swift 

flee 

the 

happy 

summer 

hours 

On 

wingB 

a 

Sun  - 

beams 

and 

flow'rs  their  revels 

keep, 

Ana 

songs 

re 

d 

•d 

d  .d 

:d  .d 

:d 

tl 

.  A 

I  r 

A 
U 

•  Q. 

:d 

fi  .fi 

•.fl  .fl 

.f, 
.  ■'•1 

S| 

:8| 

:8, 

eV.  t. 

:fe 

:s 

s  .di 

:di  .s 

:1 

f 

:r 

:1 

:  re 

:ni 

n  .m 

:  n  .PI 

:f 

r 

:r 

:f 

Birds 

fiU 

the 

air  with 

sweetest 

song. 

Soft  - 

ly 

the 

Un  • 

der 

the 

leaf-y 

for  -  est 

bough 

Where 

-  yrs 

s^l 

:d' 

•d* 

d'  .s 

:s  .di 

:di 

t 

•  t 

.+ 

.  u 

sd 

•d 

:d 

d  .d 

:d  .d 

:f 

s 

:  s 

:s 

S 

:fe 

:  g 

s  .d' 

:di  .s 

:1 

f 

:  r 

:  g 

m 

:re 

:n 

PI  .PI 

:  n  .R 

:f 

r 

:t, 

:t, 

There 

pass 

our 

hours,  a 

hap  -  py 

throng. 

Day 

af  - 

-  ter 

Spend 

we 

the 

hours  as  swift  they  go, 

While 

joys 

a 

d' 

:di 

:d' 

d'  .s 

:s  .d' 

:d' 

t 

:s 

:f 

d 

:d 

:d 

d  .d 

:d  .d 

:f 

s 

:s 

:s, 

T.  F.  Shward. 

f  .PI  :m  .re  :n 

li  .S|  :S|  .fci  :S| 

air  with  fragrant  flowers, 
side  the  fresh  buds  peep, 

d  .d  :d  .d  :d 
d|  .d|  :d|  .d|  :d| 


FINE. 


pii       :  — 

way. 
sound. 

d  :  — 
d       :  — 


1  .s  :s  .PI  :s 
f  .n  :pi  .d  :n 

brooklet  flows  a  -  long, 
whisper  soft   and  low, 

d'  .d'  :d'  .d'  :d' 
d  .d  :d  .d  :d 


f.  Aiz. 

ds,  :- 
^1      :  ni 


/TN  D.  c. 


day. 
bound. 

■^ti  :d 


:r 


ds,  :- 


SINGING  CHEERILY. 


KEY  BIZ. 

Words  and  Music  by 

W.  F.  Sheewtk. 

PI  .d 

:si,fe|.S| 

li 

.f 

;f 

f 

•ti 

:t, 

,d  .r 

PI  .d 

:r  .S| 

S|  .Pl| 

:pii,re|.R| 

fi 

.li 

:1| 

Sl 

.Sl 

:si 

,S,  .f| 

Ri  .S| 

:fi  .f| 

1.  Singing 

cheeri  -  ly 

come 

we 

now, 

Tra 

la 

la 

la  la, 

gai    -  ly 

twin  -  ing, 

2.  Oh !  how 

pleasantly 

time 

glides 

on 

Tra 

la 

la 

la  la. 

bring-ing 

pleas  -  ure, 

d  .d 

:d  .d 

d 

.d 

:d 

t| 

.r 

:f 

,pi  .r 

d  .d 

:t,  .t, 

d,  .d, 

:d,  .d, 

fl 

.fl 

:fi 

Sl 

.8, 

:s, 

,S|  .S| 

d]  .R| 

:  s,  .8, 

FOUETH  STEP. 


99 


LFINE. 


m 

.d 

:S|  ,fe|.8| 

1, 

.f 

:f 

S| 

•  mi 

:nii,re|.ni 

f| 

.li 

:li 

Wreaths  of 

melo  -  dy 

for 

each 

brow, 

When  in 

harmony 

sings 

each 

one, 

d 

.d 

:d  ,d  .d 

d 

.d 

:d 

d, 

.d, 

:d|,d|  .d| 

fi 

.f| 

:f| 

F.  t. 

''I 

.r 

:r  ,ni  .f  ,1 

8 

.d' 

:di 

.,8 

i.r 

•t, 

:ti,d  .r  ,f 

P\ 

.m 

:  m 

.,m 

Eyes 

that 

sparkle  with  a 

pure 

de  - 

light, 

So 

All 

life's 

trials    are  a  - 

while 

for  - 

got. 

Its 

•  S 

:s  ,s  .s  ,s 

8 

.8 

:  8 

.,8 

.S, 

:S|  ,Si  .S|  ,S| 

d 

.d 

:d 

.,d 

f 

.r 

:r  ,m  .f  ,1 

s 

.d' 

:a' 

.,8 

r 

.t, 

:t|,d  .r  ,f 

PI 

.n 

:  rn 

.,tn 

Brinf 

;  with 

beauty  in  their 

ftlance  to 

night, 

A 

Care 

and 

wea-ri-uess  can 

harm 

ns 

not, 

K 

S 

.S 

:s  ,S    .8  ,8 

S 

.8 

:s 

.,8 

Si 

.8, 

•S|,8|   .8|  ,8| 

d 

.d 

:d 

.,d 

f  .t, 

:t|  ,d  .r  ,pi 

d 

•  • 

8|  .S| 

Tra  la 

:8|  ,S|  .fi,S| 

la   la    la  la 

pii 

la. 

•  • 

Tra  la 

la    la    la  la 

la. 

t|  .r 

:f  ,pi  .r  ,t| 

d 

S|  .8, 

:8|  ,Si  .8|  S| 

d, 

•     '  • 

t  .1 

:8  ,fe  .8 

1 

.8 

:m,f  .8 

8  .f 

:  PI  ,re  .pi 

f 

.m 

:d  ,r  .n 

bright-ly 

gleam-ing. 

On 

OS 

beam-ing. 

troubled 

dream-ing, 

I  - 

-die 

scheming. 

8  .8 

:8  .8 

8 

.8 

:s  .8 

S|  .S| 

:si  .8, 

d 

.d 

:d  .d 

t  ,1  .8 

,f 

:  PI  .r 

f.  Biz. 

% 

:i 

r  ,f  .PI  ,r  :  d  .t| 

cheery  welcome  to  our 

Is, 

Bong. 

:s, 

So— 

we  can  sing  a 

mer  -  ry 

glee. 

Then— 

8  ,8  .8 

,s 

:s  .f 

:t, 

8|  ,S|.S| 

:8|  .S| 

Is, 

:s, 

KEY 

:m, 

\\.  Bow 
^2.  To 
\3.  No 
U.  How 

:d 

:d, 


Bl2. 

d  :-.ti  :d 
Pl|  :-.r|  :  Pi, 

sweet  to  go 
pluck  the  sweet 
gardner  stands 
sweet  to  go 
d  :-.d:d 
d|  :-.d|:d| 


HOW  SWEET  TO  GO  STRAYING. 


T.  F.  Sewaed. 


n  :r  :d 

s.   :f|  :rni 

straying,  How 
daisies  From 
nigh  you  To 
straying,  How 
d   :d  :d 
d|   :  d|   :  d. 


1,    r-.se,:  1, 

f,    :-.f,  :fi 

sweet  to  go 
warm  sheltered 
watch  and  de- 
sweet  to  go 
d  :-.d  :d 
f,    :-.f,  :f. 


d    :t,  :1, 

li    :S|  :f, 

maying  O'er 
places.  In 
ny  you  The 
maying  O'er 
d   :d  :d 

f,    :f,  :fi 


S|  :— 
PI,  :— 
hill  - 
grove 
flow'rs 
hill  - 
d  :— 
d,  :- 


d  :r 

s,    :  — 

top 

or 

that 

top 

d  :t| 

m,  :ri 


:  Pi 
:S| 

and 

by 

J'OU 

and 
:d 
:d, 


r    : — 

Si  :— 

grove; 

brook; 

see; 

grove; 

t,  :- 

s,  :— 


:s, 

:8, 

To 

And 

For 

To 

:si 

:8, 


r  :-.de:r 

f    :  n  :r 

d  :-.t| 

:d 

r    :d  :1| 

S|    :—  :  — 

t|  :d 

:r 

d    :—  :  — 

S|    :-.Si  :  S| 

S|    :  S|    :  f, 

m,  :-.r, 

:  m. 

f,    :f,  :fi 

Pii  :—  :  — 

f,  :n 

m,  :—  :- 

range  the  green 

meadow,  To 

rest  in 

the 

shadow  With 

those 

that 

we 

love. 

vio  -  let  or 

mayflow'r.And 

many  a 

gay 

gay  flow'r  From 

each 

COB  - 

-  y 

nook. 

rich  is  earth's 

bosom  In 

bud  and 

in 

blossom  For 

you 

and 

for 

nae. 

range  the  green 

meadow.  To 

rest  in 

the 

shadow  With 

those 

that 

we 

love. 

t|    :-.lei:  t. 

r    :d  :t, 

d  :-.d 

:d 

1,    :1,  :t, 

d    :—  :  — 

r  :d 

:t, 

d    :—  :  — 

S|   :-.S|  :Si 

S|     '■  8\     '•  Si 

d,  :-.d, 

:d, 

f,    :fi  :f, 

s,    :—  :  — 

S|    :  - 

-  :S| 

d,   :-  :- 

100 


T.  F.  Shwabd. 

KEX  Biz. 

s,        :  — 

8,  : 

Sweet 

eve 

d, 

d,  : 

r  .t, 

:d 

.li 

calm  and 

qui  - 

at 

ere  - 

f|  .S| 

:  ni| 

.f. 

Ti 

S| 

I  — 

S| 

ning 

hour, 

til 

t| 

:si 

.8, 

f 

Si 

:  Si 

.Si 

Si 

liev 

ina. 

The 

birds 

Uev   -  - 

ing. 

The 

stars 

r 

:t, 

.t. 

t, 

:8| 

.S, 

S| 

f 

:  m 

A 

t, 

S| 

:8| 

•S| 

S| 

na   -  - 

ture's 

glad 

voi  - 

light 

zeph  - 

yrs 

play 

t, 

:d 

.PI 

f 

8| 

:si 

.S| 

S| 

r 

:d 

t| 

all 

is 

hashed 

S| 

:s, 

f| 

t, 

:n 

r 

fling  - 

-  ing 

eT  - 

8| 

:8i 

8| 

FOURTH  STEP. 

SWEET  EVENING  HOUB. 

Arranged  from  Ktolak  by  Thbo.  F.  Sbwaed. 


• 

• 

.8, 

8| 

:1,  .d 

S| 

:- 

.m 

0 

sweet 

evening 

hour, 

\J 

.n. 

nil 
"1 

:fi  .r, 

PI, 

a. 
.8, 

S| 

:  — 

S|  :- 

S| 

S| 

:  — 

ning 

hour, 

Sweet 

eve 

■ 

d| 

d, 

di 

• 

d| 

• 

:s, 

.8, 

S| 

1,  .d 

S| 

.n 

r 

•t, 

:8, 

•ll 

How 

gen 

tie  thy 

power; 

From 

care  each 

hesii't 

.f| 

nil 

• 

fi  .r, 

n. 

.8| 

S| 

.8, 

•  "I 

•  Sl 

:  — 

S| 

S| 

.d 

r 

.r 

:  n 

.PI 

Sweet 

hour; 

From 

care  each 

heart 

re  - 

d, 

.d 

t, 

.t, 

:d 

.d 

:n 

.d 

t, 

:d 

S|    .S|  :8| 

.8, 

1| 

:s. 

.8, 

:s, 

.8, 

S| 

:s, 

f|  .f 

:fi 

.f| 

fl 

:fi 

.8, 

to 

their 

nests 

with 

cheerful  songs 

re  - 

tir 

-  ing, 

All 

one 

by 

one 

ia 

heav'ns  blue  vault  ap  - 

pear    •  - 

ing, 

The 

:d 

.m 

f 

m  .d 

t,  .t 

1  :t, 

.t, 

d 

:t. 

•t. 

:8, 

.S|' 

:si 

8,  .8 

:s, 

.8| 

8| 

:8| 

.8, 

:d 

r  .r 

:r  .r 

r 

:  n 

.r 

r 

:  PI 

.r 

:si 

8|  .8| 

fei  .fei 

S| 

:si 

fe, 

:fp, 
.  le. 

oes 

come  with  Bonnd  in  - 

spir  - 

-  ing, 

Come 

tin 

where 

ros  -  es 

are   in  - 

twin  - 

-  ing. 

Fra 

grance 

:  n 

r  .r 

:d  .d 

t, 

:d 

•t, 

d 

:d 

:d 

t,  .t, 

8| 

:si 

li 

:li 

.d 

:li 

8| 

-  .Sl 

8, 

S| 

.ni 

to 

rest. 

0 

sweet 

eve 

-  ning 

hour, 

0 

:fi 

f| 

-  .fl 

n. 

:f| 

.ri 

PI, 

.8, 

:d 

t, 

4 

S| 

S| 

ery 

where. 

Sweet 

eve 

:8| 

8| 

•  • 

d, 

• 

di 

•    1 .1 

POUBTH  STEP. 


101 


r  .t| 

:d 

.1| 

:&, 

.8, 

S| 

.d 

8| 

.PI 

r 

:1| 

•t. 

calm  and 

qui 

-  et 

eve  - 

How 

gen  - 

-  tie 

thy 

power. 

0 

sweet 

eve  - 

ning 

f,  .S| 

:pii 

.f| 

ri 

:fi 

.f| 

n. 

:fi 

nil 

.s, 

f| 

.fl 

Si 

:  — 

S| 

:  — 

S| 

:  — 

S| 

• 

.d 

t| 

d 

.r 

ning 

hour, 

Sweet 

hour, 

0 

sweet 

eve  - 

ning 

di 

•~ 

1 

di 

di 

• 

di 

•di 

S| 

:S| 

.S| 

d 

!  — 

•S| 

s, 

:li 

.d 

S| 

S| 

I   

8| 

•  

hour, 

Sweet 

eve  - 

-  ning 

hour, 

Sweet 

hour. 

PI, 

.S, 

S| 

:fe, 

S| 

f| 

PI, 

d 

.m 

PI 

:re 

m 

.m 

r 

:li 

.ti 

d 

hour, 

Sweet 

eve  - 

-  ning 

hour. 

0 

sweet 

eve 

-  ning 

hour. 

d, 

.d, 

d, 

:d, 

d, 

Si 

d, 

Eliza  M.  Shubman.  IN  THE  VINEYARD.  B.  C.  Unseu),  by  per. 

KEY  F. 


PI  :s 

-If 

:  PI 

PI 

:r 

111 

:r 

d 

:d 

It, 

:d 

PI 

:r 

|r  :- 

d  :d 

1  d 

:d 

li 

:li 

111 

:li 

Si 

:s. 

Is, 

t  Si 

d 

:d 

Iti  :- 

1.  Long,  0 

Mas  ■ 

•  ter, 

in 

thy 

vine  - 

yard, 

Thro' 

the 

dust 

and 

heat 

of 

day. 

2.  Tan  -  gled 

vines 

and 

fad  - 

ed 

flow  - 

era, 

Hid  - 

den 

lie 

a 

mong 

'  my 

sheaves, 

3.«Grath-ered 

I 

the 

love  • 

•  ly 

flow  - 

ers. 

With 

their 

dew  - 

y 

fra  - 

grance 

sweet. 

4.  Purge  thou. 

then 

the 

sheaves  so 

worth 

-  less. 

That 

I 

lay 

at 

thy 

dear 

feet. 

s  :ta 

11. 

:s 

f 

:f 

If 

:f 

PI 

:pi 

|r 

:  PI 

fe 

:fe 

Is      :■  - 

d  :d 

Id 

:d 

fl 

:fi 

|f| 

:f| 

S| 

:s, 

|Si 

:si 

r\ 

:r, 

Is, 

RUard 

  rjnj 

PI  :s 

If 

:  n 

PI 

:r 

Hi 

:r 

d 

:d 

Id 

:t, 

li 

:ti 

Id  :- 

d  :d 

Id 

:ta| 

li 

:1| 

Hi 

:la| 

Si 

:s. 

|fei 

:fi 

fi 

:S| 

jSi  :- 

I  have 

toiled 

and 

with 

my 

bur  - 

den 

Come 

I 

now 

thro' 

^'lad 

-  ows 

gray. 

Look'st  thou 

sor  - 

row  - 

ful, 

0 

Mas  - 

ter? 

Are 

there 

noth  - 

ing 

there 

but 

leaves. 

Hop  -  ing 

that 

a  -  - 

mid 

their 

beau  - 

ty 

Thou 

migh'st  find 

some 

grains 

of 

wheat. 

So  they 

yield 

thee 

at 

the 

har  - 

vest 

On  - 

ly 

fin  - 

est 

of 

the 

wheat. 

D.  S.— Glad  to 

rest 

when 

eve  - 

ning 

com  - 

eth. 

And 

the 

hours 

are 

cool 

and 

sweet. 

s  :ta 

11 

:s 

f 

:f 

If 

:f 

PI 

:  PI 

|r 

:r 

r 

:f 

1  PI     :  — 

d  :d 

Id 

:d 

fl 

:fi 

|f| 

:fi 

S| 

:8, 

Hi 

:s. 

Si 

:s. 

Id  :- 

r     :  — 

Is 

t 

:1 

Is 

:r 

f 

:f 

In 

:1 

1 

:fe 

Is  :f 

Toil     -  - 

ing 

in 

thy 

vine  - 

yard 

All 

day 

long 

vidth 

wea 

-  ry 

feet, 

i  •- 

It, 

r 

:d 

It, 

:t| 

r 

:r 

Id 

:d 

d 

:d 

It,  :r 

fe 

8  :s 

ir 

:s 

s 

:8 

\T 

:s 

s 

:s 

Is 

:f 

:1 

Is  :- 

Toil  -  ing. 

toa  - 

ing. 

toil  - 

ing. 

toU  - 

ing, 

AU 

day 

long 

with 

wea 

- 

feet, 

S,  :S| 

Is, 

:ai 

Si 

:8, 

iSl 

:s. 

ti 

:ti 

Id 

:f 

r 

:r 

|S|  :t| 

s. 


102 


FOURTH  STEP. 


Beating  Time.  It  was  recommended  in  the  first  step 
(see  note,  Mge  7)  not  to  allow  pupils  to  beat  time  until  they 
have  gained  n  sense  of  time.  It  the  teacher  wishes,  he  may  now 
teach  beating  time  according  to  the  following  diagrams.  The 
beating  shonld  be  done  by  one  hand  (palm  downwards)  chiefly 
by  the  motion  of  the  wrist,  and  with  but  little  motion  of  the 
arm.  The  hand  should  pass  swiftly  and  decidedly  from  one 
point  of  the  beating  to  the  next,  and  it  should  be  held  steadily 
at  each  point  as  long  as  the  pulse  lasts.    The  direction  of  the 


motion  is  from  the  thinner  te  thicker  end  of  each  lina.  The 
thicker  end  shows  the  "poiut  of  rest"  for  each  pulse. 

NoTB. — It  is  better  to  beat  the  second  pnlse  of  three-poise  b,  .^ore 
to  the  right,  than  (aa  some  do)  toTcartls  the  loft,  Ikicbusb  It  th  it  corre- 
sponds with  the  medinm  beat  of  the  four-jralse  measure,  and  th"  seeoaa 
pnlseof  three-pnlse  measure  is  likt  a  medium  pulse.  It  is  commoaly  ueatetf 
(both  rhythmicall.v  and  harmonically)  as  a  continuation  of  the  Jh-it  pulse 
Similar  reasons  show  a  propriety  in  the  mode  of  beating  a  six-pulse  meaa 
ore;  but  when  this  measure  moves  vrry  quickly,  it  is  oeatea  like  >  tyro 
ptilse  measure,  giving  a  beat  on  each  accented  pulse. 


TWO-PDXSB 
ItEASUBK. 


UPI 


THREE-PULSE 
MEASTJItE. 


FOUK-PtTLSE 
MEASUKE. 
up: 


SIX-PX7LSE 
MEAST7EE. 


DOWN 


Expression. — The  following  table  shows  the  names  of 
the  different  degrees  of  power;  the  abbreviations  and  marks  by 
which  they  are  known,  and  their  definitions.  The  teacher  will 
explain  these  topics,  as  may  be  required,  at  convenient  points 
in  his  course  of  lessonB.  The  full  treatment  of  the  subject  be- 
longs in  the  Fifth  Step. 


Pianissimo  -  ■ 
Piano  -  -  - 
Mezzo  -  -  ■ 
FOBTE  .  -  - 
FoBTissnio  -  • 
Cbescenbo  - 

DlMTNTJENDO  • 
SWEMi  -     -  . 
SrOBTZANBO 

Legato  -  - 
Staccato   -  • 


Pbokoukcko. 

Pe-ah-nissimo  - 
-  Ve-ah-no  -   -  - 

Met-zo  .  -  -  . 
•  jfowr-tay  -    -  - 

Four-<is8imo  -  - 
■  Cre-s/ieri-do  -  - 

Dim-in -oo-en-do  • 


Sfort-zaTvdo  - 
•  Jj&y-gah-to 
Stock-fcoA-to 


Harkkd.  MjcAjnso. 

pp  Very  Soft. 

.p  Soft. 

-   -  Medium. 

-  -   -  Loud. 

•  -  Very  Loud. 

-  -  Increase. 

•  -  Diminish. 


m    -  -  - 
-/  -  -  - 
//  -   -  - 

-  cres.  or 
dim.  or 

■  Increase  and  Diminish. 

-  sf.  or/z.  or  5«-  -  Explosive. 
  Smooth,  Connected. 

-  I  t  t    -  Short,  Detached. 


The  Hold  /T\,  indicates  that  the  tone  is  to  be  prolonged 
at  the  option  of  the  leader. 


Da  Capo,  or  D.  C  means  repeat  from  the  beginning. 
Dal  Segno,  or  D.  S.,  meana  repeat  from  the  sign 
Fine  indicates  the  place  to  end  after  a  D.  0.  or  D.  S. 


The  Silent  Quarter-pulse  is  indicated,  like  the  other 
silences,  by  a  vacant  space  among  the  pulse-divisions.  It  is 
named  sa  on  the  accented,  and  se  on  the  unaccented  part  of  a 
pulse. 

Ex.  192. 


taa 

TAA 

TAI 

sa  fa 

te-fe 

TAA 

ITAI 

1 

:1 

.1 

,1 

.1  ,1 

:1 

.1 

d 

:n 

.8 

,f 

.n  ,r 

:d 

.d 

8 

:in 

.d 

,r 

.m  ,f 

:8 

.8 

Ex.  193. 

ta-fa  -  te-fe 

TAA 

TAI 

ta-fa 

-  te  se 

ta-fa 

-  te  se 

1  ,1  .1  ,1 

:1 

.1 

1  ,1 

.1  , 

:1  ,1 

.1  , 

d  ,r  .  PI  ,f 

:s 

.8 

s  ,f 

.n  , 

:m  ,r 

.d  , 

rn  ,r  .  d  ,ti 

:d 

.  m 

r  ,m 

•  f  , 

:Pi,f 

:s  , 

Thirds  of  a  Pulse  are  indicated  by  commas  turned  to 
the  right,  thus, — :  ,  ,  ||  The  first  third  of  a  pulse  is  named  taa, 
the  second  third  tat,  the  third  third  tee;  and  the  silences  and 
continuations  are  named  in  the  same  manner  as  before. 


Ex.  194. 

TAA  TAI 
1  .1 

d  .r 
m  .r 
Ex.  195. 

taa  tai  tee 

1  ^  a 

d  (PI  ,8 
8   (PI  (d 


TAA 
1 

m 
d 


efe 
.,1 
.,f 


taa  tai 

1  a 


taa  -  ai  tee 


:1  .-a 
(f 


;Pl  ,— 
;Pl  ,— 


ta-fa 


tee 

taa 

TAI 

:1 

.1 

(d 

:r 

.d 

(8 

:f 

.PI 

-{0 

TAA 

TAI 

,1 

:1 

.1 

:s 

.  PI 

,r 

:d 

.  n 

POUBTH  STEIP. 


103 


Biz. 


MERRILY  SINGS  THE  LARK. 


St  .,S|  :S|  .,S|  |d 

:b, 

.,s 

d 

:r 

1 

:  n  (PI  (PI 

r 

rn|.,ni  :  Pii  .,ni  |  Wi 

:n, 

.,ni 

S| 

:S| 

Is, 

:si  (S|  (S| 

8| 

1.  Merry  sings  the  lark 

at 

the 

break 

of 

day, 

Tra  la  la 

la. 

2.  Eouseye,  ronse  ye  now 

at 

the 

mom 

-  ing 

call, 

Tra  la  la 

la, 

3.  Health  and  strength  are  found  in 

the 

mom 

-  ing 

air, 

Tra  la  la 

la, 

d  .,d  :d  .,d  |d 

:d 

,d 

d 

:t, 

Id 

:d  (d(d 

t| 

d|  .,d|  :  d|  .,d|  |  d| 

:d, 

.,d, 

Fli 

:s, 

Id 

:S|  fli  fii  I  S| 

Tra  la  la  la, 


:  r  ,r  ,r 
:S|  <S|  j8| 

Tra  la  la 
Tra  la  la 
Tra  la  la 

•  t|  <t|  ,t| 


PI, 

la, 
la. 
la. 

d 


:d|  (di<di  |d| 

Tra  la  la  la. 


S|  .,S|  :S|  .,8|  |d 

:si 

d 

:r 

In 

:  PI  <pi  ,Pi 

ni|.,Pi|  :pii  .,p1|  |  p1| 

:piIi 

S| 

:S| 

|S| 

:  S|  (S|  (S| 

Hear  her  as   she  slags 

her 

mer 

-  ry 

lay. 

Tra  la  la 

Konse,  ye  i  -  die  dream 

-  era, 

one 

and 

all, 

Tra  la  la 

Beau  -  ty,  youth  and  life 

in 

na  - 

-  tnre 

fair. 

Tra  la  la 

d  .,d  :d  .,d  |d 

:d 

d 

:t, 

Id 

:d  ,d  A 

d|  .,d  :d|  .,d  |  di 

:d, 

nil 

:si 

Id 

ti 


8|  ^1  <S| 
Tra  la  la 


8l 

la. 


:r  (T  <r 

:  S|  jS|  (S| 

Tra  la  la 
•  t|  (t|  <t| 


Pl| 

la, 

d 


:  d|  (di  A\  I  d| 

Tra  la  la  la 


r  J  J  :  r  j 


S|  <SuS|  :S|  r 

Tra  la  la  la 

ti  :t, 

Tra  la 
S|  :Si 


la 


If 

Is, 

la, 

t|  (t|  <t| 

la  la  la 

S|  <S|  (S| 


D.  S. 


d  <d  <d  :  d  <- 

A 

|P1 

• 

s  <s  (S  :  PI 

If  ,f  ,f 

:r 

6lA  a 

:  t|  (t|  (t| 

Id 

nununi:mi(- 

<pii 

Is, 

• 

S|  <S|jS|:sj 

:li 

S|  (S|  <S| 

:  S|  (8|  ,8, 

Is, 

•  j 

Tra  la  la  la 

la 

la, 

Tra  la  la  la. 

Tra  la  la 

la. 

Tra  la  la 

la  la  la 

la. 

d  :d 

Id  44 

:d 

d  (d  (d  •  PI 

1  r  (P 

:f 

PI  <P1  (PI 

:r  (r  (r 

|m 

Tra  la 

la  la  la 

la 

Tra  la  la  la. 

Tra  la  la 

la. 

Tra  la  la 

la  la  la 

la. 

d  :d 

\dAA 

:d 

d|(di<di:d. 

|f|.fuf| 

:f, 

SuS,  (8, 

:8|<S,  <8| 

Id, 

E£Y  C.   Bound  in  three  parts. 


{I 


d'       :d'        Id'       :t'(d'(r'|d'       :8         |8  :pi 

King,     ring,  ring,        beautiful  I  chimes    are  ring   -   -  ing. 


* 

IPI 

I  Sing, 


:  n 

sing. 


In 

sing. 


T.  F.  S. 


:r  (PI  (f  ) 

cheer-i  -  ly  ) 


II 


PI 

birds 


:  m 

are 


in 

sing 


:d 


8  :8 

Per   -  fumes 


|8 

sweet 


:  8  (8  (8  8 

flowers  a  - 1  broad 


:d' 


Id' 

fling 


■  ing. 


104 


FOURTH  STEP. 


KET  C. 


NUTTING  SONG. 


B.  C.  DuSEIiD. 


,:s 

di  :  — 

:d' 

It  : 

—  :r' 

d'  :  — 

:1   Is  :  — 

:m 

f  :  — 

:f 

11 

: —  :8 

8  :  — 

:-|m  :- 

1  :s 

n  :  — 

:  PI 

|r  : 

—  :f 

m  :  — 

:f  In  :  — 

:d 

r  : — 

:r 

If 

:—  :f 

PI  :  — 

:-|d  :- 

\l.Wk» 

has 

no 

sun 

-  shine 

in 

his  heart, 

May 

caU 

the 

au 

-  tumn 

so 

ber, 

/2.Tie 

yel   -  - 

low 

moon 

is 

clear 

and  bright, 

The 

si    -  - 

lent 

up 

-  land 

Kght 

-ing, 

rah ! 

the 

nuts 

are 

drop  - 

ping  ripe 

In 

all 

the 

for 

-  est 

bow 

-  ers, 

i 

s  •  — 

:s 

Is  : 

—  :s 

s  :  — 

:d'  Id'  :  — 

:d' 

t  :  — 

:t 

It 

:—  :t 

di  :  — 

:-|s  :- 

d  :- 

:d 

Is  . 

—  :s 

d  :  — 

:d  Id  :  — 

:d 

s  :  — 

:s 

Is, 

:—  :s, 

d  :  — 

:-ld  :- 

'S.  OHOEUS. 


:d^ 

But 
The 
We'U 


s   :  — 

:d' 

It  :  — 

:r' 

d'  :  — 

:1 

1  s  :- 

-  :di 

t  :  — 

:t 

|r'  :d' 

:1 

m  :  — 

:  P) 

1  r  !  — 

:f 

PI  :  — 

:f 

1  PI  :- 

-  :  PI 

r  :  — 

:r 

|r  :- 

:r 

boys 

with 

puis 

es 

leap  - 

ing 

wild, 

Should 

love 

the 

brown 

Oc  - 

mea  - 

dow 

grass 

is 

crisp 

and 

white, 

The 

frosts 

are 

keen 

and 

climb 

as 

high 

as 

squir'  - 

rels 

go. 

We'll 

shake 

them  down 

in 

s   :  — 

:  S 

1  s   :  — 

:s 

s  ;  — 

•  A\ 

I  U' 

1  a'  :- 

—  :s 

S    I  — 

:s 

|fe  :1 

:  a' 

d  :  — 

:d 

1  s  :  — 

:s 

d  :  — 

:d 

|d  :- 

-  :d 

r  :  — 

:r 

|r  :- 

:r 

t  :— 

:d' 

Ir'  :  — 

:t 

d'  :  — 

:1 

1  s  :- 

-  :s 

t  :  — 

:d'  |r'  :  — 

:t 

r  J  — 

:  in 

if  :  — 

:f 

PI  : — 

:f 

1  PI  J  — 

-  :  p) 

r  :  — 

:  PI 

If  :- 

:f 

long 

the 

glade, 

and 

on 

the 

hill. 

The 

rud  - 

-  dy 

oaks 

are 

shin  - 

ing 

moon. 

a 

frost  - 

y 

sky. 

A 

gust  - 

y 

mom 

to 

heads 

are 

gray, 

and 

eyes 

are 

dim. 

We'll 

call 

the 

au   -  - 

tumn 

r'  :  — 

:d' 

It  :  — 

:r' 

d'  :  — 

:d' 

|di  :- 

-  :di 

ri  :  — 

:di 

It  :- 

:ri 

S  — 

:s 

Is,  :  — 

:si 

d  :  — 

:d 

Id  :- 

-  :d 

s  :  — 

:s 

Is,  :- 

:s. 

r'  :  — 

:r 

,d  .— 

:d' 

t   :  — 

:t 

|1  ••- 

-  :1 

s  :  — 

:d' 

It  :- 

:r' 

f    :  — 

:f 

1  n  :  — 

:n 

r  :  — 

:r 

Id  :- 

-  :d 

PI  :  — 

:  n 

|r  :- 

:f 

mer  - 

-ry 

winds 

are 

out 

by 

night, 

Thro' 

aU 

the 

for    -  - 

ests 

drive 

the 

with 

ered 

leaves 

a  - 

bout. 

And 

heap 

them  in 

the 

now, 

with 

life 

in 

ev   -  - 

ery 

limb, 

We 

love 

the 

brown 

Ge- 

t :— 

:t 

|1    :  — 

:1 

se  :  — 

:se 

|1 

-  :1 

d'  :  — 

:d' 

Is  :- 

ts 

s    :  — 

:s 

1    :  — 

:1 

PI  :  — 

:pi 

If 

-  :f 

s  :  — 

:s 

Is,  :- 

:s. 

s  :  — 
r  :  — 

to  -  • 
bit  -  - 
show,  - 

t  :  — 


d'  :—  :  — 

glow  .  -  - 
fol   -   -   -  . 

so    -    -    -  - 

d'  :—  :  — 
d  :— :  — 


di  :  — 
n  :  — 

blow 

hoi 

to 

s  :  — 
d  :  — 


d'  :— :— 

di  :_  :— 1— 

:—  :d' 

t  :  — 

:di 

|r' 

:—  :t 

d'  :— 

:r' 

1  ni' : —  : — 

f   :— :— 

'ho  ! 

ho!  ' 

:—  :f 

r  :  — 

:n 

If 

:—  :f 

PI  :  — 

:f 

Is  : —  :  — 

Ho  ! 

The 

gold  - 

en 

au 

tumn 

bright 

with 

glee. 

1    :—  :— 

Id'  :—  :- 

1  :— :— 1  — 

:—  :1 

s  :  — 

:s 

Is 

: —  :s 

s  :  — 

:s 

f    :—  :  — 

If  :— :  — 

f  :—  :—  1  — 

:—  :f 

s  :  — 

:s 

Is, 

:—  :s, 

d  :  — 

:d 

Id  :— 

s  :  — 

:s 

r  :  — 

ber. 

ing. 

ers. 

When 

t  :  — 

:t 

s  :  — 

:s 

PI 
s 

ing. 
low 

ber, 

d'  : 


:s 

And 

To 

But 

:d' 
:d 


d'  :—  :— 
PI  : —  :  — 

ing. 
lo-sy. 
ber. 

s  : —  :  — 


FOUBTH  STEP 


106 


D.  S. 


d'  :  — 

11  :  — 

d"  :- 

1  * 

-  :d' 

t  :- 

-  :d"  Ir'  : 

"  1 

—  :t 

d>  : 

f  :  — 

;  

If  :- 

;  — 

f  :- 

.  :_ 

-  :f 

r  :- 

-  :ni  If  : 

—  :r 

PI  : 



—  1  ~*~' 

Ho! 

ho! 

ho! 

The 

hap 

-   -  py  days 

for 

me. 

1   :  — 

'»  — 

id'  :- 

'•  — 

1    :  — 

J  — 

1-:- 

-  :1 

8  :- 

—  :s    |s  : 

—  :8 

8  : 

— 

f  :  — 

:  — 

If 

:  — 

f  :- 

:  — 

1-:- 

-  :f 

s  :- 

—IS    |s  : 

—  :s. 

d  : 

— 

KEY  At?. 

CHEISTMAS 

CAROL. 

1, 

F.  Sewaed. 

d  :d 

:d 

PI  :  PI 

:  PI 

s   :  — 

:s 

PI   '.  — 

;  PI 

r 

•  r     1  Si   

:8, 

PI 

:  PI 

Id  :  — 

:si 

d  :d 

:d 

Id  :d 

:d 

d  :  — 

:d 

d  :  — 

:d 

t,  :- 

:t|  |S|  :  — 

:s, 

S| 

:s. 

|s,  :  — 

:s. 

D.  C. — 1.  Cheerily,  cheeri  - 

ly 

sing 

we 

oil 

an. 

vjn 

Christ  - 

mas  eve 

the 

shad  - 

ows 

faU, 

Ob 

2.  Heavi  - 

ly 

hnng  is 

our 

Christ  - 

mas 

tree. 

'Tis 

bur  - 

dened  well 

for 

you 

and 

me, 

The 

3.  Help  Ub 

,  dear  Lord,  lest 

we 

self  - 

ish 

be. 

All 

hearts 

are  not 

as 

glad 

as 

we, 

xie  - 

PI  :pi 

:  m 

1  s  :s 

S 

PI    '  — 

'.  PI 

S  — 

I  S 

S 

*  a      la  • 
.  s     1  o     •  — 

:s 

S 

:  8 

1  PI   . — 

■  m 
•  I'l 

d  :d 

:d 

Id  ,:d 

:d 

d  :  — 

:d 

d  :  — 

:a 

S|  :  — 

:s,  |S|  :  — 

:s. 

d 

:d 

Id  :- 

:d 

d  :  — 

:d 

PI  :  — 

:  PI 

s    :  — 

:s 

PI  :  — 

:  PI 

r 

:r   |s,  :  — 

:s 

PI 

•  

|r  :- 

:  — 

S|  :  — 

:d 

d  :- 

:d 

d   :  — 

:d 

d  :  — 

:d 

t 

:t|  |S|  :  — 

.s, 

d 

t,  :- 

Christ  - 

mas 

mom 

the 

Bun 

light 

breaks, 

And 

all 

the  world 

to 

glad  - 

-  - 

ness 

hem 

lock  branch  - 

jbs 

piled 

with 

snow. 

In 

na 

tive  woods 

bend 

not 

so 

mem  - 

ber 

then 

thy 

poor 

to  - 

night. 

And 

flood 

their  dark 

ness 

with 

thy 

m  :  — 

:  m 

s   :  — 

S 

PI  :  — 

:  n 

s    :  — 

:s 

S 

:  s    1  s   :  — 

:s 

S 

:  — 

If  :- 

d  :  — 

:d 

d  :- 

:d 

d   :  — 

:d 

d  :  — 

:d 

S| 

:S|   Is,  :  — 

:S| 

S| 

[s,  :- 

FINE. 

d  :  — 

-:- 

Si 

1|  :- 

:d 

d  :  — 

:S| 

1, 

:d  |a  :  — 

:si 

1| 

:d 

:d 

Id  :  — 

:d 

d  :- 

-:- 

pii 

f|  :- 

:fi 

pii  :  — 

:p1i 

f| 

:f,   1  PI,  :  — 

:p1i 

f| 

:fi 

:fi 

Is,  .— 

:si 

wakes. 

The 

leaves 

are 

dead, 

The 

birds 

are  fled. 

The 

ut 

■  tie 

brooks'  tongue 

are 

low. 

(iod 

giv  - 

eth 

aU; 

The 

ra    -  - 

ens  call. 

He 

heareth 

them. 

so 

let 

light. 

The 

htin  - 

gry 

feed, 

The 

wan 

d'rer  lead. 

The 

sor 

-row 

-ing 

souls, 

the 

n  :  — 

-:- 

d 

d  :  — 

:1| 

S|  :  — 

:d 

d 

:li   Is,  :- 

:d 

d 

:li 

:li 

Is,  :- 

:d 

d,  :- 

-  :- 

d, 

f|  :- 

:fi 

d,  :- 

:d, 

fi 

:f|   Id,  :- 

:d, 

:fi 

1  n,  :  — 

:ni, 

r  :- 

:pi  1  r  :- 

:s. 

fe,:- 

:fe,|  s,  :- 

rpii 

tied 

with  cold ; 

But 

us 

be  -  gin, 

He 

cap  - 

tive  free, 

And 

d  :- 

:d  |t,:- 

:d 

r,  :- 

:r,  1  s,  :- 

:d, 

1,  :-  :d  Id  :-  :s, 

fj  :-  :f,  1  m, :-  :pi, 

beUs  may  ring,  and 

hears  al  -  way  when 

think,  we    pray,  on 

d  :-  :1,  !s,  :-  :d 

f,  :f.  Id,  :-  :d, 


1,  :-  :d  Id  :-  :s, 

fi  :-  :f,  I  R,:-  :n, 

chil  -  dren  sing.  For 

chU  -  dren  pray,  For 

this  glad  day.  Of 

d  :-  :1,  Is,  :-  :d 

f,  :-  :f,  Id,:-  :d, 


li  :-  :d  Id  :-  :d 

f,  :-  :f|  Is,  :-  :s, 

safe  is    our  dear 

he  him-self  a 

those  who  have  no 

d  :-  :1|  Is,  :-  :d 

f,  :-  :f|  I  n,:-  rnii 


rTN   D.  c. 
PI :-  :r  |  r  :-  :- 

fe,:-  :fe,|S|  :-  :- 

Shep  -  herd's  fold, 
child    hath  been. 
Christ -mas  tree. 

d  :-  :d  |t,  :-  :- 
r, :-  :r,  |s,  :-  :- 


106 


FOURTH  STEP. 


COME  UNTO  ME.   No.  2. 

r.  F.  Sewabd. 


d  :- 

Id 

:d 

d    :-  1-  :- 

n   :  — 

If 

:f 

n   :  — 

1-  :d 

1| 

:t, 

Id 

:f 

S|  :- 

Hi 

:li 

8,    :-  1-  :- 

s,    :  — 

Hi 

:li 

s,   :  — 

1-  :s, 

fi 

:si 

1- 

:si 

Come 

nn 

-  tc 

me, 

Come 

-  to 

me, 

all 

ye 

that 

m   :  — 

If 

:f 

m    :-  1-  :- 

d    :  — 

Id 

:d 

d    :  — 

1—  :d 

d 

:r 

|d 

:t, 

d, 

Id, 

:d, 

d,   :-  1-  :- 

d,  :- 

id, 

:d. 

d,  :- 

1—  :ni| 

fi 

In, 

n 

:tp 

Id 

:  m 

r    :  — 

Id 

:l| 

S|    :8|    1  : 

S|    :  n 

|r 

:d 

1| 

Id 

S| 

:s. 

|8| 

•8, 

s,    :  — 

Ife, 

s,    :s,    1  : 

pii  :si 

Is, 

:S| 

fi 

:—  Ire, 

la 

-  bor 

and 

are 

hea    -  - 

vy 

la  -  den; 

Come 

nn 

-  to 

me, 

and 

d 

:d 

:d 

t,  :- 

Hi 

:d 

ti    :t,    1  : 

d    :  — 

It, 

:d 

d 

:-  Id 

• 

di 

:d. 

|d| 

:d, 

r,    :  — 

|r, 

S|          1  : 

d|  :- 

|r, 

:n. 

fi 

Ifei 

d^ 

:d 

|r 

:t, 

d    :  — 

1- 

:      1  : 

s  :s 

If 

:f 

n 

Id 

:d 

|fi 

:f| 

Take  my 

yoke 

np  - 

on 

yon 

and 

pii 

:pii 

m,  :  — 

1- 

:      1  : 

t|  :t, 

Hi 

:s, 

S| 

:-  Is, 

:S| 

I 

will 

give 

you 

rest. 

d 

:d 

It, 

:r 

d    :  — 

1- 

m    :—  Id    :  — 

r    :  — 

Id 

:r 

d 

:-  Id 

:d 

Take  my 

yoke 

up 

on 

yon 

and 

:s. 

Is, 

:8, 

d,  :- 

1- 

d    :—  In,    :  — 

S|    :  — 

Hi 

:t| 

d 

:—  In, 

:  n. 

d  :— 

Hi  :- 

S|  :  — 

1-  :s, 

1,  :-  H,  :- 

t.  :- 

Id 

f  :f 

In  :- 

r  : — 

learn 

of 

me; 

For 

.1  am 

meek 

and 

low-ly 

of 

heart, 

li  :- 

|fi  :- 

n,  :  — 

1—  Jni, 

fi        |fi  :- 

s,  :— 

Is, 

S|  :s, 

|si  :- 

S|  :— 

d  :— 

Id  :- 

d  :  — 

1-  : 

d  :d   Id  :d 

r  : — 

Id 

:d 

ti  :- 

Id  :- 

t,  :- 

learn 

of 

me; 

Take  my  yoke  np  - 

on 

yon 

and 

learn 

of 

me; 

fi  :- 

Hi 

d  :  — 

1-  : 

fi  :fi   Ifi  :fi 

fi  :- 

1  Hi 

:ni 

ri  :  — 

Id,  :- 

S|  :— 

And 

I-  :s, 
[-  :t| 

And 

I-  :si 


n  :n  |d 

ye  shall  find 

8:  :si  |n, 
d  :d  Id 

ve  shall  find 

d,  :d,  Id, 


S|  :- 

rest 

n,  :■ 
d  :- 

rest 

d,  :- 


nn 

|n. 
Id 

nn 

In, 


8| 

Is,  :- 

s,  :  — 

In 

:  n 

n  :d 

If 

:  n 

s 

:f 

1 1^ 

:r 

to 

your 

Bonis, 

For 

my 

yoke 

is 

eas 

-  y 

and 

my 

ri 

rn. 

|f|  :r. 

n,  :  — 

Is, 

:s| 

s,  :ni 

Hi 

:S| 

ta. 

:1| 

|S| 

:li 

t, 

:d 

|r  :t, 

d  :- 

Id 

:d 

d  :^ 

Id 

n 

:f 

|s 

:f 

to 

yoni 

souls, 

For 

my 

yoke 

is 

-  y 

nnd 

8| 

Is,  :- 

d|  :- 

Id, 

:d, 

d,  :- 

Id, 

dei 

Im, 

FOUKTH  STEP. 


rit.  'PJ) 


d  :  m 

|r  :- 

d  :-  1-  :- 

d  :  — 

:-.r 

m  :  — 

1-  :- 

f  :n 

|r 

:-.d 

d  :-  1- 

burden 

is 

Ught. 

Come 

un 

-  to 

me, 

Come 

un 

-  to 

me. 

S|  :s, 

|si  :  — 

8|  :  —  1  —  :  — 

pii  :S| 

Is, 

:-.S| 

S|  :  — 

fi  :s, 

|f| 

PI,  :—  1  — 

rn  :s 

If  :- 

m  :-  1-:- 

d  :  — 

It, 

:-.t, 

d  :  — 

1-  :- 

d  :  — 

It, 

:-.d 

d  :-  1- 

burden 

is 

light. 

Come 

nn 

-  to 

me, 

Come 

un 

-  to 

me. 

|si  :  — 

d,:-  1-:- 

di  :ni| 

Is, 

:-.S| 

d  :  — 

1,  :d 

Is, 

:-.d, 

d,  :-  ;- 

EVERY  DAY  HATH  TOIL  AND  TROUBLE. 


KZY  Aiz.    M.  120. 


rn 

:in 

If 

:s 

s. 

:s, 

Is, 

:8| 

l.Ev  - 

ery 

day 

bath 

2.  Pa  - 

tient 

-  ly 

en  - 

3.  La  - 

bor ! 

wait  1 

though 

d 

:d 

|r 

:  in 

d 

:d 

Id  . 

:d 

m 

:  n 

If 

:s 

s. 

:s| 

Is, 

:si 

Meek 

-ly 

bear 

thine 

Bound,  by 

links 

that 

And 

the 

storm 

a   -  - 

d 

:d 

|r 

:  n 

d 

:d 

Id 

:d 

r 

:  r 

Ini 

:d 

s. 

:S| 

Is, 

:si 

Fear 

not, 

shrink 

not. 

La  - 

bor ! 

wait! 

thy 

Wait 

in 

hope, 

the 

t, 

:t, 

Id 

:  in 

s. 

:si 

Id 

:d 

rn 

:  m 

If 

:s 

s. 

:d 

It, 

:ta| 

God 

shall 

fill 

thy 

Oount  not 

lost 

the 

And 

peace 

-  ful 

d 

:  m 

|r 

:de 

d. 

:d. 

|r. 

:  m 

s 

:f 

|m 

:r 

s. 

:li  .t 

Id 

:si 

toil 

and 

troub 

-  le, 

dur  - 

ing 

ev  - 

-  er 

mid  - 

night 

shad  - 

ows 

n 

:r 

Id 

:t, 

s. 

:si 

Is, 

:f. 

s 

:f 

|m 

:r 

s. 

:1,  .t 

Id 

:s. 

own 

full 

bur  - 

den. 

can  ■ 

not 

sev  - 

er. 

bove 

thee 

low  - 

'ring 

m 

:r 

Id 

:t. 

s. 

:si 

Is, 

:f, 

r 

:in  .f 

Ini 

:d 

s. 

:si 

Is, 

:si 

though  the 

bur  - 

den 

crown 

is 

read  - 

y 

mom 

-  ing 

dawn  - 

eth. 

t| 

:d  .r 

Id 

:  PI 

S| 

:si 

Id 

:d 

s 

:f 

1  m 

:  r 

1, 

11, 

:1, 

mouth  with 

glad  - 

ness. 

fleet  - 

ing 

mo  - 

ments 

rest 

a  - 

waits 

thee, 

r 

•  r  , 

Is 

:f 

f. 

:f. 

lif. 

:f. 

d 

:d 

|r 

:  m 

s, 

:si 

|S| 

:s, 

Ev 

-  ery 

heart 

hath 

Let 

thy 

spii  - 

it 

Gath 

-  er 

round 

thee 

d 

:d 

It, 

:d 

m, 

:n, 

|r, 

:d, 

d 

:d 

|r 

:in 

s. 

:si 

Is. 

:s. 

And 

thy 

broth 

-  er's 

To 

hu  - 

man 

i  - 

Fills 

thy 

heart 

with 

d 

:d 

It, 

:d 

:in, 

|r. 

:d, 

r 

In 

:r 

s. 

•s. 

Is, 

:  sei 

Heav 

-  y 

to 

thy 

When 

thy 

wea  - 

ry 

When 

the 

gloom 

-  y 

t, 

:d ^ 

Id 

:  n 

s. 

:si 

Id 

:t, 

d 

:d 

|r 

:  rn 

S| 

:si 

If, 

:m| 

And 

thy 

heart 

with 

Life 

has 

but 

be  - 

When  thy 

work 

is 

m 

:  m 

|r 

:d 

s. 

:si 

|S| 

:s, 

Beethotxn. 


n 

|r 

Sj 

:  — 

1- 

: 

care; 

be 

here. 

d 

|t, 

• 

S| 

r 

1- 
|d 

• 
t 

• 

f, 

In, 

: 

share. 

ty. 

fear 

t. 

Id 

• 

s. 

Id, 

d 

:r 

Is, 

1, 

:fe, 

Is, 

• 

heart 

may. 

prove; 

task 

is 

done; 

night 

is 

gone; 

m 

:r  .d  |t| 

• 

1, 

Is, 

r 

Id 

f| 

|m, 

• 

love. 

gun. 

done. 

t, 

Id 

s. 

Id, 

• 

108 


FOUETH  STEP. 


THE  SWEET  VOICE. 
Grace  J.  Fbances.  Hubibst  P.  Main,  by  pel 


KEY 

Db 

O       tit     •  X       1  o      •  u. 

•di 

d'  •  — 

.  It  •  

•  1 

If  'PI 

*  X 

m   •   •  

A|2.  t. 
1  •        •  ml.  \ 

:d 

d  :d  :r  |  r  :pi 

:  PI 

f  :  — 

:-|f  :- 

:f 

f  :t, 

:d 

It,  :t. 

t. 

d  :— :  — 

|-:-:df,  ; 

1. 1 

dreamed  that  afar  I 

had 

wan 

dered, 

And 

stood  on 

a 

des  -  ert 

a  - 

lone; 

A  ( 

2.  The 

cares  of    my   life  in 

a 

mo 

tnent 

Were 

lost  in 

a 

thrill  of 

de- 

light; 

The) 

3.  That 

voice  in    my  heart  I 

cher 

ish, 

And 

when  I 

am 

sad  and 

op- 

pressed; 

Its  \ 

:  m 

PI  :s   :s   1  d'  :s 

:ta 

1    :  — 

:—  Id'  :  — 

:di 

t  :f 

:n 

|r  :s  : 

S 

s 

— :—  :sd 

:d 

d  :d  :d  |d  :d 

:d 

fi  :- 

:-Jf,  :- 

:f. 

s,  :S| 

:s, 

|S|  :s,  : 

S| 

d 

-:-:af,  ' 

t. 


PI 


S|  :s,  :S|  |S|  :s, 

voice  o'er  my  spir-it 
desert  transformed  to 
ec  -  ho,  per  -  haps,  in 

d  :d  :t|  |d  :r 
PI, :  PI,  : Ti  I  d,  :tz 


:  m 

PI  :  — 

:-  |r  : 

-  :li 

d  :  — 

:d 

It,  :1| 

:t| 

:s| 

fi  :- 

:-  If,  : 

-  :fi 

pii  :  — 

rm. 

|fi  :fi 

:f, 

•^.t,:—  :—  1  —  :  — 

came 

steal 

-  ing; 

How 

soft 

its 

mag -if"  - 

al 

tone. 

a 

gar 

den. 

Where 

all 

was 

love  -  ly 

and 

bright. 

my 

•lum 

her 

Will 

calm 

my 

SOT  -  row 

to 

rest. 

:d 

1|  :- 

:-  11,  : 

—  :d 

d  :  — 

:d 

1  r  :r 

:r 

ds  :—  :—  1—  :  — 

:d, 

f,  :- 

:-  If,  : 

-  :fi 

s,  :  — 

:si 

|S|  :si 

:S| 

d,s,:_  :_|-:_ 

r  :  — 

:f 

PI  :  — 

s   : —  :  — 

1  — :d' 

:  PI 

voice, 

sweet 

voice. 

Dear 

lov 

-  ing 

voice!  \ 

t|  :- 

:t,  It,  :- 

:r 

d  :  — 

:s,  1  s,  :—  : 

d  :—  :  — 

1  —  :  PI 

:d 

voice, 

sweet  voice. 

sweet 

voice, 

sweet  voice, 

Dear 

lov 

-  ing 

voice!  ) 

s  :  — 

:s    |s    : — 

:s 

s    :  — 

:  PI  1  PI  : —  : 

PI  : —  :  — 

1  —  'S 

:s 

voice!  \ 

voice, 

sweet  voice, 

sweet 

voice, 

sweet  voice, 

Dear 

lov 

-ing 

S|  :  — 

:s. 

d  :  — 

d  :—  :  — 

1—  :d 

:d 

d   :_:_|_:_:  / 

1   :  — 

11  :t 

:di 

Pi'  :  — 

:d' 

1  s   :  — 

r    :  PI 

:f 

1 1^ 

:  ~-  :r 

d  :  — 

:s 

Where, 

where  is 

the 

bliss 

it 

gave? 

Why  is 

the 

vis 

ion 

o'er? 

Swee 

d  :  — 

|f  :f 

:f 

PI  :  — 

:  PI 

Id  :  — 

d'  :d 

It, 

:-  :t| 

d  :- 

1-:- 

f  :  — 

|1  :se 

:1 

s   :  — 

:s 

|Pi  :- 

1  :s 

:1 

1  S 

:—  :f 

n  :  — 

Where, 

where  is 

the 

bliss 

it 

gave? 

Why  is 

the 

vis 

ion 

o'er? 

f,  :- 

|fi  :fi 

:f| 

d 

:d 

Id  :- 

f  :pi 

:r 

Is, 

:—  :s. 

d  :- 

1-  :- 

r  :  — 

|-:~ 

:s 

n  :  — 

:s 

t    :  — 

:1 

|s 

:r  :f 

PI  ;d' 

:1 

Is  :- 

voice. 

Sweet 

voice, 

That 

made 

my 

in 

-    -  most 

soul 

re  - 

joice. 

:t. 

:t. 

It,  :- 

:s, 

:s. 

Is,  :  — 

:d 

t,  :- 

:t, 

It, 

d  :  PI 

:re 

|Pi  :- 

su  - 

ver 

voice, 

Sil- 

ver 

voice. 

That 

made 

my 

in 

-   -  most 

sonl 

re  - 

joice. 

:3 

:s 

Is  :- 

:  PI 

:  PI 

|Pi  :- 

:  PI 

r   :  — 

:r 

|r 

:s  :s 

s  :  — 

:fe 

Is 

:s, 

:8, 

Is,  :- 

:d 

:d 

Id  :- 

:d 

S|  :  — 

:8, 

Is, 

:—  :8, 

d  :- 

:d 

Id  :- 

:  PI 

Sweet 

:  d 

Sweetf 


:  B 

Sweet  / 

:  d 


FOUBTH  STEP. 


109 


1 

-  :-|l 

:t 

:d' 

ml 

:-  :d' 

Is  :- 

f 

~  :-|f 

:f 

:f 

PI 

: —  :pi 

Id  :  — 

Oh  ! 

say, 

was 

it 

aU 

a 

dream. 

d'  : 

- 

:se 

:1 

S 

: —  :s 

|Pi  :- 

fi  : 

-  :-|f, 

••f| 

:fi 

d 

:—  :d 

Id  :  — 

—  r   :pi  :f   |n  :—  :r  d   : — :—  |— :  — 

—  d   :d  :d  |t,  :—  :t,  d 

Gone  to  re  -  turn          no  more. 

—  1    :s  :1    |s   :—  :f  pi  :— :—   — :  — 

—  f    :m  :r  |8|: —  :S|  d  :—        — :  — 


EEX  B\1, 

pii  :f|  :fe| 
re. 


SABBATH  EVENING. 


di  :ri 

1.  Lin  ■ 

2.  Sa  - 

3.  'Tis 


d,  :- 


ger 

cred 

the 

:d 

:d, 


S|  : —  :d 
PI]  :—  :S| 

still,  O 
songs,  0 
third  watch, 

d  : —  :  PI 
d,  :-  :d, 


d  :- 
f|  :- 

bless 
do 

bless 

r  :- 

s,  :- 


:t, 
:f| 

ed 

not 

ed 

:r 

:s, 


t,  :- 
fi  :- 

hoars, 
cease; 
Lord, 

r  :  — 


t,  :1 


fi  :- 

Slow 
Sweet 
Come, 

t|  :—  :t 

S|  :  —  :s, 


S| 

pii 

your 
oh. 


Ri  :f|  :fei  1  S|    —  :  pi 

PI  : —  :r  |  d  : —  :d 

d  :t|  :1|  1  S|  : —  :t| 

r        :—  |d  :—  : 

d|  :r|  :rei  1  pi|  : —  :8| 

sei :  —  :  sei  1 1|  :  —  :  li 

rei :—  :rei  |  Pii  :—  :fi 

Back    -   ward  roll,  0 
Min     -    gle     with  my 
Ufe          and   lib    -    -    er  - 

li  :t,  :d  Id  :—  :r 

f,  :—  :—  1  Pi|  :—  ! 

still         d«  -  soend,  ye 
Sounds    of     praise  and 
Thro'       this  si    -    -  lence 

S|  : —  :d  1  d  : —  :d 
d|  :—  :d|  | d,  :—  :d| 

F.  t. 

tiPi  :f   :fe  1  s   :—  :d' 

heaven  -  ly  showers, 

hymns     of  peace, 

speak       the  word  Of 

t,  :-  :t,  |1,  :-  :1, 

ty  

t|  :—  :—  Id  :—  : 

pii  :—  :p1|  111   :—  :1| 

fei  :  —  :  fei  1  S|  :  —  :  S| 
r  :  de  :  r  1 1    :  —  :  s 

s,  :—  :—  |d,  : 

di  :—  :t   It  :—  :- 
n  : —  :r  |r  : —  :  — 

sa    -    -    cred  Dove, 
still         and  sleep, 
let           it  go, 

s   : —  :s   1  s   : —  :  — 
si  :—  :S|  |S|  :—  :  — 

fe  :—  :—  Is   :-■  : 

Sid  :  r   :  re  1  PI  :  —  :  pi 

t|  :lei  :t|  |r   : —  :pi 

re  :  —  :  —  |  pi  :  —  : 

Tar     -     ry     stUl,  0 
Bu     -    sy     world,  lie 
Clasp       my    hand,  nor 

rs  :  —  :  s    |  s   :  —  :  s 
8id  :  —  :  d   |  d  :  —  :  d 

In           this  worth    -  less 
Far          a  -  way  from 
Je    -    -    BUS,   Sav     -  iour, 

s   : —  :s   1  f   : —  : pi 
Si  : —  :si  1 1|  : —  :d 

breast  

Friend,  

i         :-|s   :-  : 

PI  :f 

:fe 
:re 

s    :  — 
PI  :  — 

:di 
:  PI 

d'  :  — 
PI  :  — 

:t 
:r 

It   :  — 

:t 

t  :1 

:s 
:t, 

f  :  — 
r  :  — 

:t, 
:si 

r  :  — 

:-  Ids,  :-  : 

d  :r 

1  r   :  — 

:r 

r  :d 

t,  :- 

:-  Ids,  :-  : 

Come 

from 

thine 

a  - 

bode 

a  - 

bove. 

Make 

with 

me 

thy 

rest .... 

Heart 

of 

mine. 

oh, 

wake  - 

ful 

keep. 

Je    -  - 

SUS 

calls 

for 

thee! 

Thy 

rich 

grace 

Still 

let 

me 

know. 

And 

love 

me 

to 

the 

s  :  — 

:s 

s   :  — 

:s 

s   :  — 

:s 

1  s   :  — 

:s 

s   :  — 

:s 

s   :  — 

:f 

f  :  — 

:-  ht,:-  : 

d  :  — 

:d 

d  :  — 

:d 

S|  :  — 

:si 

|S|  :  — 

:si 

S|  :  — 

:S| 

S|  :  — 

:s, 

s,  :  — 

:-  Ids,  :-  : 

r,  :-:f, 

fade,  sweet 
ech   -  oes 
come  with 

t,  :-  :t, 
s,  :—  :s. 


B.  C.  Unsbld. 

li  :-:-|S|  :-  : 
f,  :—  ;—  I  PI,  :—  : 

light  

are,  

me,  

d,  :-  :-|_:-  : 


PTNE. 


f  Rb.D.G.litTero. 


ilO 


POUETH  STEP. 


QEOBaB  Bennbtt. 


HOPE  WILL  BANISH  SORROW. 


Kex  A|2. 

S|  :si 

Is, 

*  Si 

mi  :  nil 

|f| 

:fi 

1.  Once  a  - 

gain 

we're 

2.  When  I'm  far 

a  - 

3.  Faith  and  trust 

in 

d  :d 

It, 

:t| 

d,  :d, 

|r, 

d  :r 

|rn 

li  :1a, 

Is. 

in  the 

heart 

muse  of 

me, 

storm-y 

wave, 

d  :d 

Id 

f,  :f. 

Id, 

Httbebt  p.  Main,  by  per. 


t,  :-.t,  jd  :m 
s,  :-.s,  |s,  :si 

Make  the  parting 
Check  at  once  the 
Clasp  me  to  thy 

r  :-.f  I  PI  :d 
s,  :-.s,  |S|  :s. 


S|   .i|  .biia 

1| 

1  4. 

1  ^ 

i  a 

r    :  —  jo. 

S|  s. 

1  A 

|d 

.  A 

:  a 

f,    :f.  In, 

•  

fi 

:fi 

|f| 

rm. 

f,    :—  In, 

• 

PI,  :f, 

jpi. 

:si 

doom'd  to  part, 

Deem  not 

'tis 

for  - 

ev   -   -   -  er; 

Love,  if 

root  - 

ed 

 .      fr  IT  

way  irom  thee, 

O'er 

the 

0  - 

cean 

sail   -   -  -ing. 

You  will 

oft  - 

en 

heav'n  we  have, 

God 

ev  - 

er 

near    -    -  est; 

He  can 

still 

the 

t,  :d.r|d 

:  — 

d 

:d 

|S| 

:s. 

t,  :-  Id 

d  :r 

Id 

:d 

Si   :s,  |1, 

:  — 

fi 

:fi 

|r, 

:d, 

si  |d| 

d  :t, 

Hi 

:n, 

r   :s,  Id 

:t. 

li 

|S| 

n  :-.m  |r 

:d 

f  :pi 

|r 

s,  :si  |r, 

:s. 

fe, 

|S| 

s,  :-.S||f| 

:ni, 

1,  :S| 

Is, 

Time  nor  tide 

can 

sev 

-  er; 

'Tis     the  sad 

a  - 

dieus  that 

chill, 

Tears  and  sighs 

pre  - 

vail 

But    ne'er  think  of 

me  with 

fear, 

Bear  me   safe  - 

ly 

dear 

est; 

Then  fare-well 

my 

na  -  tive 

shore, 

t|  :t,  |1, 

:s. 

d 

|t| 

d   :-.d  it. 

:d 

d  :d 

It, 

ri  :r,  |r. 

Is. 

d   :-.d  Is, 

:li 

fi  :d| 

Is, 

PI  :r  |r   : — 

s,  :s.  Is,  :f, 

sadder  stUl, 

ris  -  ing  tear, 
heart  onee  more, 

d  :t,  It,  :- 

s,  :s,  Is,  :— 


d  :-.dlt,  :d 
PI,  :-.S|  |f,  :  PI, 

Say  "we'll  meet  to- 
Siag  "we'll  meet  to- 
Sing  "we'll  meet  to- 

d  :-.d  Is,  :s, 
dj  :-.m,|ri  :d. 


d  :— 
PI, 

mor  - 
mor  - 
mor  - 

d  :— 
1|  :- 


|r  : 
Is,  : 

row, " 
row," 
row, " 

It,  : 
Is,  :f. 


s  :-.d|t|  :d 
s,  :-.s,  |f|  :pi, 

Hope  will  banish 
Hope  will  banish 
Hope  will  banish 

d  :-.d  |S|  :s, 
pii  :-.Pi,|ri  "d. 


r 

f|  ■ 

sor 
sor 
sor 

t|  : 

s,  : 


:—  !d 

-  I  PI, 

-  -  row. 

-  -  row. 

-  -  row. 

-  Id 

-  Id, 


KEY  F. 

s      rpi.djl  :-.l 

d     :d.d|d  :- .d 

1.  Fa-therll    long,  I 

2.  There  all  the  heaven  -  ly 

3.  Fa  -  ther !  I   long,  I 

PI     :s  .PI  I  f  :-  .f 

d     :d.d|f|  :-.f, 

s      : PI . d 1 1  :  -  .r 

d     :d     Id  :-.t, 

leave    thine    earth  -  ly 

drink   im   -  mor  -  tal 

leave    thine   earth  -  ly 

PI     ;s  .  PI  I  f  :  -  .s 

d     :d     If  :-.f 


LANGDON.    C.  M. 


;r  .f  I  PI 

:t;TF|d 


s 

faint,    to  see 

hosts    are  seen, 

faint,    to  see 

r  :s  I  S 

S|  :S|  Id 


:d 
:d 


courts,  and 
vig  -  or 
courts,  and 

s  :s 


If 
It, 


PI 


:  PI 


flee 

in, 

be 

Is 
I  r 


:-  .  PI 
.d 

The 

In 

The 

:-  .1 

-  .r 
-.t. 

Up 
With 
For 

.s 

;-  .8, 


;d  .r 

:li  .ti 


PI 

d  _ 

place  of 
shin  -  ing 
place  of 

:  PI 


1 
1, 

n 
d 

to 

won 
ev  - 


:sjf> 
:li 

thy 
der 
er 

:f 
:fi 


:fe 

d  :d 

thine  a 

ranks  they 

thine  a 

n  :r 

1,  :r 


seat, 
and 
with 

PI 


:t, 
:s, 

my 

with 

my 

:r 


s 
t, 

bode; 
move, 
bode; 

r 

s, 


S|  :s. 


T.  F.  Skwabd. 

I-  :  .s 
I-    :  .d 

I'd  j 
And\ 
I'd  I 

I  —  :  .PI 
I—    :  .d 


d  :-  I- 

s,  :-  I- 

God! 

love. 

God. 

PI  : —     I  — 

d  :  -  I- 


FOURTH  STEP. 


Ill 


H.  H.  Hatden. 
KEY  D.    M.  108. 


EVENING  ON  THE  LAKE. 


M.  L.  Baxtlett,  by  per. 


s  .d< 

t 

:1 

Is 

:  s  . 

f 

m 

:1 

Is 

:1  . 

t 

d' 

:  s 

11  . 

s 

:f  .in 

PI 

s 

:f 

1 

:d 

d 

:-  .t, 

Id 

:f 

n 

:  n 

If  . 

n 

:r  .d 

.  Now 

bright 

-  ly 

on 

the 

yield 

-  ing 

wave, 

The 

moon's 

soft 

rays 

are 

.  The 

eve 

ning 

breez 

-  es 

gent 

-  ly 

blow, 

A 

sweet 

re 

fresh 

ment 

.  We 

gai  - 

ly 

dip 

the 

gleam 

-  ing 

oar, 

And 

on 

ward 

now 

are 

S 

S 

:1  .t 

Id' 

:1  . 

la 

S 

:f 

|m 

:1  . 

la 

S 

:d' 

Id' 

:  s 

d 

d 

:d 

Id 

:d 

d 

:d 

Id 

:d 

d 

:d 

Id 

:t|  .d 

|r 

:  s 

a' 

4. 
t 

:  1 

1  s 

:  s 

.f 

PI 

:  1 

Is 

:  a' 

d 

:  — 

It, 

:d 

PI 

s 

:f 

1  ^ 

:d 

d 

t 

1  Id 

:  PI 

glanc 

- 

The 

spark 

-  ling 

wa 

ter 

seems 

to 

move. 

As 

bring 

ing, 

As 

on 

ward 

blithe 

-    some  - 

ly 

we 

go 

^jur 

dash 

'  ing, 

WhUe 

faint 

er 

the 

shore 

On 

S 

Is 

:  s 

S 

:  1  . 

t  Id' 

:1 

.la 

s 

:  f 

1  ni 

:  s 

S 

Is 

:  PI  . 

d 

d 

:d 

Id 

:  d 

d 

:d 

Id 

:d 

t     .  1 

:  s  . 

1  It 

:1 

1 

1  s 

:  s 

s   .  r' 

:  t  . 

1 

Is 

:  s 

r 

:  r 

|r 

:  PI  . 

fe 

fe 

.  

1  s 

:  s 

f 

:f 

If 

:f 

if 

with 

joy 

'twere 

danc 

- 

ing, 

And 

we 

are 

fuU 

of 

mer 

ry 

cho 

rus 

sing 

- 

ing. 

Our 

wa 

fry 

path 

way 

which 

the 

waves 

are 

plash 

- 

ing. 

We 

bid 

each 

thought 

of 

s  .d' 

:t  . 

d'  |r' 

:d 

1 

d' 

:  — 

It 

:t 

t 

:r'  . 

d'  It 

:t 

r 

:  r 

|r 

:  r 

r 

:  — 

1  s 

:  s 

S 

:  s 

Is 

:  s 

s   .  m' 

:d' 

1  Is 

:  s 

1  .t 

:d' 

Id' 

:r' 

Pi' 

1- 

:  s 

n 

:f 

Ini 

:  PI 

f 

:  s 

1  ^ 

:1 

se 

1- 

:f 

an 

Bwering  glee, 

With 

hap 

py 

hearts 

we 

sing, 

And 

gleams 

with 

Ught, 

The 

hour 

is 

fuU 

of 

joy, 

AU 

sor 

row 

flee. 

Care 

to 

the 

winds 

we 

fling. 

And 

d' 

:1 

.  d'  1  d' 

:d' 

d' 

:d' 

Id' 

:1 

t 

1- 

:t 

d 

:d 

Id 

:d 

f 

:  PI 

|1 

:f 

PI 

• 

1- 

:  r 

s  .  m' : 

n'.r' 

r' .  d' :  s  . 

se 

1  . 

r> 

:  r'  .  d' 

Id'.t 

:  s 

1 

A  : 

d'. 

r 

'1  Pi' 

:r' 

d'  :- 

-  1- 

PI  .  s  : 

f 

n  :d 

f 

:fe 

1  s 

:  d  .  PI 

f 

s  . 

1 

1  s 

:f 

PI      :  - 

-  1- 

fiir 

a 

cross  the 

WU 

ters 

free, 

Our 

mer  - 

ry 

notes 

shall 

ring. 

na 

ture 

smiles  on 

us 

to  - 

night, 

No 

trou  - 

ble 

shall 

an  - 

noy. 

far 

a  - 

cross  the 

wa 

ters 

free. 

Our 

mer  - 

ry 

note? 

.shall 

ring.  . 

d'  : 

t 

1  d>     :  d' 

d' 

:ri 

|r' 

:di 

d' 

.r'  : 

d' 

d' 

:t 

d' 

d  : 

se 

11  :m 

f 

:  r 

Is 

:  PI  .  d 

f 

.  r  : 

PI  . 

f  Is 

:  s 

d 

L12 


FOURTH  STEP. 


GOOD  NIGHT. 

KEY  C.  Gust  AYE  CABtnxi. 


:1  .1 

d' 

:  m  .  m 

s 

:1 

s 

• 

d' 

:1  .1 

d' 

:di 

PI 

:f  .f 

m 

:d  .d 

r 

r 

m 

:f  .f 

n 

:  re 

1.  Bim, 

bim,  bim. 

bim. 

hear  us 

sing  - 

ing. 

Bim, 

bim,  bim, 

bim, 

now 

2.  Bim, 

bim,  bim, 

bim. 

chimes  are 

ring  - 

ing, 

Bim, 

bim,  bim, 

bim. 

ye 

S 

:1  .1 

S 

:d'  .d' 

t 

:d' 

t 

S 

:1  .1 

S 

:fe 

d 

:f  .f 

d 

:d  .d 

S 

:  r 

d 

:f  .f 

d 

:1| 

D.  0. 


d'  .d' 

.t 

d' 

t 

:le  . 

le 

t     .  t 

:di  . 

d' 

r' 

:d' 

d' 

n  .  n 

:f 

.  r 

m 

• 

r 

:de  . 

de 

r    .  r 

:  m  . 

PI 

f 

:  PI 

PI 

sounds  the 

mid 

-  night 

hour, 

Hark! 

how 

the 

chimes  are 

ring  - 

ing. 

Voic 

-  es 

your 

zeph-yrs 

lend 

your 

aid, 

S     .  S 

:  s 

.  8 

S 

• 

:  8 

:  8 

:  s 

Bim, 

bim, 

bim, 

S|  .8, 

:si 

.  8, 

d 

• 

8| 

8| 

S| 

Bim, 

bim, 

bim. 

:le 

.le 

t  .1 

:  8 

.  S 

t 

t     .  t 

:d' 

r' 

:de'  . 

de' 

r'  . 

de' 

:r'  . 

re' 

r  .d 

:t, 

.t, 

r 

:de 

.  de 

r    .  r 

:  PI 

f 

:  PI  . 

PI 

f  . 

n 

:f  . 

fe 

way  be 

wing 

-ing, 

High 

to 

our 

la  -  dy'B 

bower. 

Charm 

her 

with 

ma  - 

gic 

pow  - 

er, 

:  s 

:  8 

:  8 

:  s 

:  s 

bim. 

bim, 

bim. 

bim, 

bim, 

8| 

8| 

• 

S| 

S| 

t 

bim. 

bim, 

bim, 

bim, 

bim. 

n'  .t 

:d' 

.1 

8 

.d' 

:  8  . 

8 

8 

.1 

:t  . 

d' 

r'  . 

de' 

:r' 

Pi'  . 

t 

:d'  .1 

8  .1 

:f 

.f 

PI 

.  n 

:  PI  . 

d 

t| 

.d 

:  r  . 

PI 

f  . 

PI 

:f 

S 

:1  ..f 

While 

we 

our 

watch  are 

keep  - 

May 

she 

in 

slum  - 

ber 

light. 

Calm 

and  se 

d' 

:d' 

.  d' 

d' 

.  8 

:  8  . 

PI 

r 

:  s  . 

8 

t  : 

le 

:t 

d' 

:d'  .d' 

d 

:d 

.  d 

d 

.d 

:d  . 

d 

8| 

:  s  . 

8 

s  : 

8 

:  8 

d 

:d  .d 

8  .d> 

:  8 

.  8 

8 

.1 

:t  . 

d' 

r' 

.Pi' 

:d' 

8 

:  8  .8 

8  . 

fe 

:  8  .8 

n   .  PI 

:  n 

.d 

t, 

.d 

:  r  . 

n 

f 

.  8 

:  PI 

care  be 

Bleep 

-  ing. 

So 

let 

OS 

say 

good  night. 

Calm 

be  our 

la  ■ 

dy 

sleep -ing, 

d<  .8 

:  8 

• 

.  PI 

8 

:  8  . 

8 

t 

.  8 

:  8 

• 

• 

d  .d 

:d 

.  d 

S| 

:  8  . 

8 

8 

.  8 

:d 

• 
• 

• 

• 

FOUBTU  STEP. 


113 


So 


:t  .t 
:  s  .8 

let  OB 


t    .le  :t 

8     .8     : 8 

say    good  night, 


r' 

8 

So 

t 

S 


.  8 


;  r' 
:  8 

let  us 

;t  .t 
;  8  .8 


r'  .  de'  :  r' 

s  .8     : 8 

say  good  night, 

t  .le  :t 


ml 


Good 


8 


8     : 8 


PI 

night, 


8 

Good 

m 


m 

night, 

d 


.  PI' 

,  8 

good 


d' 
PI 

night. 


.  PI' 

.  8 

good 


.8    :  s 

good  night, 

.d  :d 


di 
PI 

night, 


.  Pi' 

.  8 

good 


good  night, 

.d  :d 


1  ! 

t 

d' 

pi' 

d' 

Pi' 

d' 

Pi' 

1 

:  .t 

f  : 

8 

PI 

8 

PI 

8 

PI 

8 

f 

:      .  8 

night, 

good 

night, 

good 

night. 

good 

night. 

good 

night. 

good 

.  8  : 

8 

.  8  : 

8 

.  8 

:  8 

8    : 8 

8     : 8 

good 

night. 

good 

night, 

good 

night. 

good  night. 

good  night, 

.  s  : 

8 

.d  : 

d 

.d 

:d 

d  :d 

d  :d 

d' 

t 

.  PI 

PI 

.  8 

:  8 

.d' 

d< 

.  Pi' 

Pi' 

.d' 

r' 

.r' 

:d',t  .1  ,t 

PI 

• 
• 

.d 

d 

.  n 

:  PI 

.  PI 

PI 

.  8 

8 

.  PI 

f 

.f 

:pi  ,r  .d  ,r 

night, 

la. 

la. 

la. 

la. 

la. 

la, 

la, 

la. 

la. 

la, 

la. 

la,  la. 

.  8 

:  8 

.  8 

S 

.  8 

:  8 

.  8 

8 

.  8 

8 

.  8 

1 

.1 

:s  .8 

la, 

.d 

:d 

,d 

d 

.d 

:d 

.d 

d 

.d 

d 

.d 

f 

.f 

:s  .8 

d'  .n'  : 

8'  . 

PI 

P)  . 

8  : 

8 

d' 

d' 

.  Pi' 

:pi'  . 

de' 

r' 

:t  . 

d' 

PI  .  8  : 

PI  . 

d 

d  . 

PI  : 

PI  . 

PI 

PI 

.  8 

:  s 

PI 

f 

:f  . 

PI 

la,  la. 

la. 

la, 

la. 

la, 

la. 

la, 

la, 

la. 

la, 

la. 

la, 

la, 

la. 

8.8  : 

8  . 

8 

8  . 

s  : 

8 

8 

8 

.  8 

:  8 

1 

1 

:  8  . 

8 

d   .d  : 

d  . 

d 

d  . 

d  : 

d  . 

d 

d 

.  d 

:d  . 

1 

f 

:  8  . 

d 

•  1 

114  FOURTH  STEP. 


Maby  C.  Sewabd,  sleep,  BELOVED.  Th».  F.  Sijwabd. 

EZY  G. 


vv  —  

rn       :  re  .  n  :  f  .  PI 

s        :  —      :  f  .  n 

r        :  de  .  r  :  PI  .  r 

Jnit 

(J           jm,  .   f|   .fe;  .a, 
^           •  di    .   r,   •  r«i  .m 

now; 
round, 

PI       :  : 
d|       :  : 

d        :—      :  d 

1.  Fall      -      -  -ing 

2.  Bios      -       -  Boms 

s        :  fe  .  s  :  1  .  s 

d       :  PI  .  d  :  d 

shad      -      .      -  ows 
fold  their 

R       :  s   .  PI  :  1  .  s 

t|       :  -      :  t, 

length      -       -  en 
pet      -      -      -  als 

f       :  PI   .  f  :  s    .  f 

d        :—  :d 

d       :—  :d 

S|       :  —       :  S| 

PI      Tre~T^Tf  .  PI 
d       :—      :  d 

Dark  and 
Clouds  are 

s        :  fe  .  s  :  1  .  s 

s        : —      :  PI 
d       :  PI  .  d  :  S|  .  d 

r        :  —      :  r 
t,       :  1,  .  t,  :  d  .  1, 

r       :  —       :  — 

lie , 
sky; 

s       :  —       :  — 
S|       :  —       :  — 

oLiii  tut? 

sleep      ...  ing 

PI       :  s  .  PI  :  d  .  PI 

wood      -      -      -  lands 
in  the 

s        :  fe  .  s  :  1  .  fe 

d  :d 

r        :  d   .  t| :  li   .  S| 

d        :-  :d 

r        :  —      :  r 

S|       :  —  .  d  :  f  .  PI 

r        :  d   .  t|  :  1|    .  S| 

s        :  —      :  -  . 

fi   .  S|  :  f|   .  si :  f|  .  S| 

S|        :  —       :  d 

sleep  on 
hushed  comes 

rn   .  s  :  PI   .  s  :  1    .  s 

fi    .  S|  :  f|   .  S| :  f|   .  S| 

S|   .  t| :  d  .  r  :  PI  . 

Birds                       a    -  - 
Soft       -       -       -  ly 

t|       :  r       :  f 

leaf     -     -     -     -  y 
eve       ...  ery 

t|       :  r        :  f 

bough, 
sound, 

m  .  r  :  n  .  f  :  s 

S|        :  —      :  8, 

d,       :  -      :  d, 

S|       :  —      :  S| 

d       :  —      :  — 

n 

:  re 

. PI  :  f  .PI 

s 

.1  :f 

.  r 

d 

:t, 

.d 

:  r  .re 

PI       :  — 

:d 

d 

:  d 

tai 

:1| 

S| 

:t,  .1, 

S|        :  — 

:d 

Hushed 

the 

zeph 

er's 

faint 

est 

sigh, 

Then 

Bliss 

-  ful 

il.  i.  ams 

are 

hov 

'ring 

nigh. 

Then 

S 

:  fe 

.s  :  I  .s 

PI 

:  de 

:  r 

.f 

PI 

:  r 

.  PI 

:f  .fe 

s        :  — 

:  PI  .s 

d 

:  d 

d 

:  Pi| 

:fi 

S| 

:  s, 

d|    ni  :  S| 

.  d  :  S|   .  m 

Bit.  ^'P 


PI 

:  re 

.  PI  :  f    .  s 

1 

.s 

:  f 

.  r 

d 

:t| 

.d 

:  r  .PI 

d 

d 

:  d 

ll 

.ta 

:li 

S| 

:t| 

d 

•  ll 

:si  .f, 

:  Pii 

sleep 

be   -  - 

lov 

ed. 

lul 

la    -  - 

by. 

sleep 

be   -  - 

lev 

ed, 

lul 

la   -  - 

by. 

S 

:|fe 

.s  :  S 

f 

.de 

:  r 

.de 

:  r 

.f 

PI 

:  r 

.  n 

;f  .8 

PI 

.f 

:  n  .r 

:d 

d, 

:  ri  .  ni, 

fl 

.PI, 

:  r, 

.  pi| 

:fi 

:  8, 

d, 

FOUETH  STEP. 


11 


ELEMENTARY  RHYTHMS. 

For  Pupils  preparing  for  the  Elementary  and  Junior  School  Certificates. 

These  Rhythms  must  be  done  at  the  rate  indicated  by  the  metronome  mark.    The  pupil  must  1cm  or  taatai  one  complete 
neasure  and  anj'  portion  of  a  meiisure  which  is  required,  as  an  introduction  to  the  Exercise — the  Exercise  itseK  being  taken  up 
"Nvithout  pause  or  slackening  of  speed,  at  the  right  moment.    The  exercise  most  be  taataid  on  one  tone.    For  amusement,  it  may  be 
■taataid  in  tune. 

For  the  Time  Exeecise  of  the  Elementaet  CERTirrcATE  (Requirement  2),  any  two  of  these  Rhythms  taken  by  lot  must  be 
sung  to  kt  on  one  tone  at  the  rate  named,  and  in  perfectly  correct  time.  Two  attempts  allowed.  The  pupU  is  also  allowed  to  taatai 
the  Exercise  on  one  tone  once  before  he  commences  laa-ing  it- 

For  the  Time  Exercise  op  the  Jitnioe  School  Cestifioate  (Requirement  2),  any  one  of  Nos.  1  to  9  of  these  Rhythms,  taken 
by  lot,  must  be  sung  on  one  tone  to  to,  in  perfectly  correct  time.    Two  attempts  allowed. 

The  keys  are  fixed  so  as  to  bring  the  tones  within  the  reach  of  all  voices.  The  Rhythm  may  often  be  leamt  slower  than 
marked,  and  when  familiar  the  pupils  will  take  pleasure  in  largely  increasing  the  speed.  J.  0. 

They  are  to  be  taught  by  pattern.  Three  or  four  may  be  practiced  at  each  lesson  until  the.  whole  are  learned.  The  pupil  is 
«xpected  to  practice  them  at  home  until  they  are  thoroughly  familiar,  so  that  any  one  taken  by  lot  can  be  correctly  done. 


11 


I.     KEY  F.     M.  100. 

S|  .d  :d      I  S| .  d  :d 


TAATAL 

s  .  m  :s  .  m  I  d  .d  :d     |Si.d:d  |S|.d:d 


TAA    I  TAATAI    TAATAI  1  TAATAI       TAA    |  TAATAI 


TAA    1  TAATAI 


Bugle  Gall,  "FaU  in." 

s.ni:s.in|d.d:d 

TAA  I  TAATAI    TAATAI  1  TAATAI  TAA 


2.    KEY  F.    M.  100. 


TAA 


:S|  .  ni 

TAATAI 


d  .d 

TAATAI 


:S|  .  m 

TAATAI 


TAA 


:S|  .m  |d  .d   :S|  .m 

TAATAI        TAATAI  TAATAI 


Bugle  Call,  "Close." 

:-  In 


TAA 


3.    KEY  A.    M.  100. 

S|     Id     :ri.S||d     :m  .S|  Id  .S|  :m  .S|  |d  .S|  :in  .S| 

TAA      I      TAA     TAATAI        TAA      TAATAI  I  TAATAI     TAATAI     TAATAI  TAATAI 


d     :m  .S|  I  d 

TAA      TAATAI  TAA 


Bugle  CaU,  "Fatigue." 

:  m  .  S|  I  d  .  S|  :  ni .  S|  |  d 

TAATAI   .TAATAI    TAATAI  T 


4.   KEY  F.    M.  100. 

s  .  n  :d  .S|  I  d.  n  :S|     Is.rnrd.Sijd     : —    1  s  .  m  :d  .Si  |  d .  n  :S| 

TAATAI    TAATAI     TAATAI      TAA       TAATAI    TAATAI        TAA         -AA     j  TAATAI    TAATAI    TAATAI       TAA    I  TAATAI    TAATAI  TAA 


Bu^le  Call,  "Guard." 

s  .  rn  :d  .S|  I  d     :  — 


5,    KEY  A.     ^'l.  100. 

:S|     Id  .d  :d  .S|  |d.d  :d  .S| 

TAA     I  TAATAI   TAATAI     TAATAI  TAATAI 


d  .S|  :d  .S|  |d  .d  :d 

TAATAI    TAATAI    TAATAI  TAA 


S|      :—  |8| 

TAA  -AA  TAA 


Bugle  CaU,  "Advance.' 


AA  I  TAA 


11 


6.    KEY  A.    M.  144. 

rn      :—  Id 

TAA  -AA  TAJ 


m  .  d  :  m  .  d  I  S| 

-AA   I  TAATAI    TAATAI  TAA 


I-  Id 

-AA  TAA 


Bugle  CaU,  "Extend." 

—    I  PI  .d  : m  .d  I  S|  :- 


-AA    I  TAATAI    TAATAI  TAA 


7.     KEY  E.     M.  100 

d        :d  .r    :ni  .f  |s 

TAA  TAATAI  TAATAI 


:—  :1 

-AA  TAA 


Bayly,  "In  happier  hours.' 

:f  .PI  :f  .s   In        :d  :d 


d        :d  .r    :n  .f  Is         :s  :1 

lAA  TAATAI  TAATAI      1      TAA  TAA  TAA 


:f  .n  :f  .s 

TAATAI  TAATAI 


116 


FOXJBTH  STEP. 


8.    KEY  G.    M.  100. 

d       :  — 

TAA  -A 


I        TAA  I 


:t, 


TAA  TAA      I  TAATAI      TAATAI        TAATAI  TAA  TAA  TAA 


s         :-   .f  :m 

TAA  -AATAJ  XAA 


li  .r  :d 

TAATAI  TAA 


:d 
:t, 


AATAL  Tune,  "Wainwright' 

r  .m  :f  .m  :r.  .d  Id  :ti 


SAA 


{\ 
II 


9.   KEY  E.    M.  100. 

8      :s  . f  I  m 


:-  . f  I  n  :r 

TAA      TAATAI       TAA      -AATAI  |      TAA  TAA 


n 


:r  .d  If 


: n .r  s 


:1  Is 


Hymn  Tme,  "Simeon." 

:-.d|f      :-.n|l      :-.s|t,    .  :d      |r     :- .r 


TAA      -AATAI  |      TAA      -AATAI       TAA       -AATAI  I      TAA         TAA         TAA  -AATAI 


:-  .8  8 


:-  .1  Is  .f  :ni  .f  I  PI 


TAA     TAATAI        TAA      TAATAI  I  TAA 


TAA         TAA       -AATAI  I     TAA       -AATAI     TAATAI   TAATAI         TAA  TAA 


:r 


TAA  -AA 


10.     KEY  D.     M.  100. 

PI  .f  :r  .  n  I  d  :s 

TAATAI    TAATAI         TAA  TAA 

d      :d      Id  :t| 


(The  pupils  to  take  each  part  alternately. ) 


TAA  TAA 


Pl.f  :r  .  PI  I  d  :s 

TAATAI    TAATAI        TAA  TAA 

d     :d      Id  :t, 

TAA         TAA  TAA  TAA 


s  .  f  :  PI .  f  I  s  :  d' 

TAATAI    TAATAI        TAA  TAA 

d     :d      In  :d 

TAA         TAA  TAA  TAA 


J.  R.  Thomas,  "Picnic. 

1  .s  :f  .  n  I  r      :  — 

TAATAI    TAATAI  TAA 

t|     :d     |si     ;  — 

TAA         TAA  TAA  -i 


:s 


:s 


SAA     TAA       SAA  TAA 


TAA  SAA 


TAA  SAA 


:s      I  :s 

SAA       TAA         SAA  TAA 

r      :        I  PI  : 

TAA      SAA  TAA  SAA 


f  .8  :1  .t  Id'  :pi 

TAATAI     TAATAI       TAA  TAA 

f      :r      I  PI  :d 

TAA         TAA  TAA  TAA 


r      :8  |d     :  — 

TAA         TAA  TAA  -AA 

d      :t,  Id     :  — 

TAA         TAA  TAA  -AA 


KEY  C.     M.  72. 


!l 

W 


d,d.d,d:d    .d    I  pi  .d  :d 


tafatefe  taatai 


Tafatefe. 

PI, PI ;  PI  .PI 

tafatefe  taatai 


|P1,P1. 

I  tafat 


,s.s, s:s   .R  |d,d.d,d:pi  .s    I  pi  .  d  :d 


tafatefe  taatai 
PI 


j  I  S  .PI 

I  I  taatai 


tafatefe    taatai     |  taatai 


TAA 


di,di.di,di:di 

tafatefe 


s ,s  .  s,  s  :s 

tafatefe  taa 


Bugle  Call,  "Walk  and  Drive."  Altered 

s    .PI    :n         |di,di.di,di:d>  .d' 

TAATAI  TAA  tafatefe  taatai 


PI  .d  :d 

taatai  TAA 


d, d.d, d  :pi  .s     In   .d  :d 

tafatefe      taatai        |  taatai 


12.    KEY  D.    M.  72. 

d     .d,d:d  .d 


TAitefo 


Ms 


8  ,s  : ! 


.  s 


TAAiefo 


TAAtefe. 


d     .  S|  :d      .  S|  j  PI     .  n  ,pi  :  PI  .pi 

TAATAI  TAATAI  |  TAAtefs  TAATAI 

di     .8  :d'     .s  Id     .d  ,d  :d  .d 

TAATAI  TAATAI  TAAtefe  TAATAI 


Bugle  GaU,  "Hay  up  or  Litter  down." 

In     .  d      :  n     .  d 


SAA 


13.    KEY  F.    -M.  100. 

:*i     .S|      I  d  ,8|  .  PI      :d  ,8|  .  m 

TAATAI         I     tafaTAi  tafaTAi 


'tafaTAI. 


.8  ,s  :s      .3|      Id  ,S|  .  PI 


TAAtefe 


tafaTAi 


Bugle  Call,  "Defaulters." 

:d  ,S|  .  PI  Id 

tafaTAi  I  TA> 


FOURTH  STEP.  117 
14.    KEY  G.    M.  100.  TAA-efe.  BvgU  CaU,  "Salute  for  thu  Guard." 

nd      :d.,d|S|.     :S|.,S||d     :d  .,d|d  : 

\  I     TAA      TAA-efe  I     TAA      TAA-«fe  |     TAA      TAA-efe  |  TAA 


d  .d  :  m.d  I  m  .s  :  m  .d  I  S|     :S|.,S||si  : 

8AA      I  TAATAI  TAATAI   |  TAATAI  TAATAI  |     TAA      TAA-efe  I     TAA  SAA 


15.    KEY  C.    M.  100.  Bugle  (M,  "Officers." 

IS        :-  I 

I      TAA  -AA  ) 


(:s    .,s  Id'        :s    .,s  :s    .,s  |m        :s         :s        |d>        :s    .,s  :s  .,s 

I     TAA-efe      TAA         TAA-efe      TAA-efe  |    taa         taa  TAA       I     TAA        TAA-efe  TAA-efe 


!  :s         Id'        :s    .,s  :s    .,s  I  m        :s  :pi        Id  :d  .d  :d  .d  Id        :  — 

.)         TAA         I       TAA         TAA-efe         TAA-efe     I       TAA             TAA  TAA         I      TAA  TAATAI  TAATAI       I      TAA  -AA 

16.    KEY  F.    M.  100  Bugle  Call,  "Orders." 

s  :S|  .,S||d     :—    |n     :s|.,S||d     :—    |  m  :Si.,S||d  :si.,S||m  :S|.,S|ld     : —    |  n  ) 

}    TAA-efe  '      TAA         -AA           TAA    TAA-efs  I     TAA          -AA           TAA  TAA-efe  |     TAA  TAA-efe        TAA  TAA-efe  |     TAA  -AA         TAA  f 

:S|     I  d  .,S| :  PI  .,Si|  d  .,S|  :rn.,S||d  .,S|  :ni  .,S|  I  d  :m      Is  : —    |—  :ni.,d|si  :-.d|n 

TAA   I  TAA-efe  TAA-efe  TAA-efe  TAA-efel  TAA-efe  TAA-efe     taa  taa   I   taa  -aa        -aa  TAA-efe  |   taa    -aatai  taa 


I       TAA  I 
17.  KE 

\\d     :n  .,f|s  •  :- .s  11      :t      |  d'     :-.s|d'     :s      |f.in:r.dlf     :ni     jr     :  |j 

(  I     TAA      TAA-efe      taa  -aatai  I     TAA          TAA           TAA     -AATAI    I     TAA         TAA       TAATAI     TAATAI  I     TAA         TAA         TAA       SAA  |{ 


17.    KE?  C.    M.  100.  Hymn  Tme,  "Truro." 


18.    KEY  F.    M.  100.  ^wgie  CM,  "General  Salute." 

:S|     Id     :d  .,d{  d .  PI  :s  .  m  I  d  :d.,d|d  :S|.,d|ni  :d.,m|s      :S|.,S||S|  :S|.,S|)S| 

TAA    1     TAA     TAA-efe    TAATAI   TAATAI  |     TAA  TAA-efe      TAA  TAA-efe  |      TAA  TAA-efe       TAA     TAA-efe  |     TAA      TAA-efe  TAA 

:S|     Id     :d  .,d|d  .m  :s  .  nld  :d.,d|d  :S|.,d|m  :d.,ni|s      :S|     Id  :d.,d|d 

TAA    I     TAA      TAA-efe  •«:aATAI     TAATAI  |     TAA  TAA-efe       TAA  TAA-efe  j     TAA  TAA-efe      TAA  TAA    |     TAA      TAA-efe  TAA 


II 
II 


19.    KY  F.    M.  100.  -AA-efe.  ^    Bugle  Call.  "Assembly." 

s        :—       |-    .,n  :d  .S|  Id        :—       |-    .,S|:d  .Si  Id    .,S|  :d  .S|  |d    .,S|  :d  .S| 


TAA  -AA  -AA-efe      TAATAI      |      TAA  -AA  -AA-efe       TAATAI       |  TAAtefe         TAATAI         TAA-efe  TAATAI 

d        :n       I—       :—      Is        :—       |-   .,pi  :d  .S|  Id        :—       |—  : 

TAA  TAA  -AA  -AA         I     TAA  -AA  -AA-efe       TAATAI       |     TAA  -AA  -AA  SAA 


20.  BEY  F.    M.  100.  Hymn  Tune,  "Serenity." 

(:d     lt|.,d:r     :s  Is     :—   :fe    Is     :—  :d.,t||l|     :-.t,:d.r|n    :—   :r     Id     :  — 

(        TAA   I  TAA-efe     TAA       TAA  |     TAA         -AA       TAA    I     TAA       -AA  TAA-efe  |     TAA  -AATAI   TAATAI  I  TAA         -AA       TAA     |     TAA  -A 

21.  KEY  F.    M.  100.  Hymn  Tune,  "Arlington." 

(:d       In  .,ni:m  :r        Id    .,d  :d  :r        |m  .s    :f  :n        In       :r  ) 

(         TAA        I   TAA-efe          TAA  TAA         I   TAA-efe          TAA  TAA         I  TAATAI            TAA  TAA         |      TAA             TAA  J 

(:f        In  .,n:n  :1        Is    .,s  :s  :d'       Ir  .f  :n  :r        Id        :—  |j 

\       TAA        I  TAA-efe          TAA  TAA         |  TAA-efe          TAA  TAA        |  TAATAI            -EAA  TAA         |    TAA              -AA  I 


118 


POUETH  STEP. 


22. 
8 


KEY  F.     M.  100. 


:-  .  m 

-AATAI 


I  TAX 

23.   KEY  F.   M.  72. 

:8 


f  .1 

TAATAI 


s    .,pi:d  .d 

TAA-efe  TAATAI 


I       XAA  I 


n   .,f  :r    .,ni  :d  .S|  Id 

TAA-efe     TAA.efe     iaatai  |  taa 

PI   .,f  :r    .,pi  :d  .S|  11, 

TAA-efe     TAA-efe     taatai  |  taa 


TAA 

24. 

TAA    I  TAA-efe  TAA-efe  I  TAA-efe 


:d 


8AA 


BAA 


'  Bamett,  ' '  Hark  1  sweet  echo. " 

:-  .8    :f  .  Tj  I  r    .,t|  :.8|  .S|  :8| 

-AATAl        TAATAI      I    TAA-efe      TAATAI  TAA 


:r 


m  .,f:8 

TAA-efe  TAA-efe 


Mazzinghi,  "Tom  Starboard.' 

.,in  :l,s.f,pi|r  : 


tafatefe 


3AA 


:t. 


TAA 


d  .r  :n.s,f:ni.r 

TAATAI  TAAtefe  TAATAI 


KEY  F.     M.  72 

PI  .,f  :f  .,s|s  .,r:pi 


If  .,n :f  .,r|  n 

TAA  I  TAA-efe  TAA-efe  I  TAA 


TAA  8AA 
"Home,  sweet  home." 

.d,d|  PI  .,f  :f  .,s|s      :pi  .s  If  .,n:f  .r  id 

-AAtefe  I  TAA-efe  TAA-efe|    taa    taatai  |  TAA-efe  taatai  |  taa 


25.    KEY  C.    M.  60. 

s,f  .  n,f  :s  .1 

tafatefe  taatai 


Is  .Pi' 

TAATAI 


:d' 


|r'     .,d' :t  ,1  .s  ,f  I  n 


TAA 


TAA-efe 


s    .  m' 

TAATAI 


:d' 


TAA 


It    .d',t:l  .t,l|8 

I   TAAtefe  TAAtefe 


TAA 


tafatefe 


8AA 


J.  R.  Thomas,  "Picnic." 

|s,f  .Pl,f  :s  .1 

tafatefe  taatai 


26.   KEY  F.   M.  100, 


Hymn  Tune,  "Prestwiok." 

d  :t|  :t|  |d  :-.r:n  |pi.r:d  :t|  Id 


:s  .f  j  PI  :—  :r.n|  f  : —  :in  I  n  :r  :d 

TAATAI  I  TAA    -AA  TAATAI  TAA    -AA    TAA  |  TAA    TAA    TAA    TAA    TAA  TAA  I  TAA -AATAI  TAA  TAATAI  TAA  TAA  I  TAA    -AA    -AA   SAA  SAa\ 


Modulator  Voluntaries  now  include  transition  of  one 
remove.  These  should  not  be  made  too  difficult  by  wide  and 
unexpected  leaps  on  to  the  distinguishing  tone;  nor  too  easy  by 
always  approaching  the  distinguishing  tone  stepwise.  While 
the  effects  of  transition  are  in  process  of  being  learnt  these  ex- 
ercises may  be  sol-fa-ed,  but  the  teacher  cannot  now  be  conteni 
with  Bol-fa-ing.    Every  exercise  should  also  be  sung  to  la. 

Sight-laa-ing.  The  laa-voluntaries  are  really  sight-sing- 
ing exercises,  if  the  teacher  does  not  get  into  self-repeating 
habits  of  pointing.  See  p.  12.  But,  at  their  best,  they  give  no 
practice  in  reading  time  at  sight.  Therefore  the  absolute  neces- 
sity of  sight-laa-ing  from  new  music  from  the  book  or  the 
black-board. 

Memorizing  in  three  keys.  The  pupils  should  now 
know  from  memory,  not  only  what  is  above  any  one  note  on  the 
modulator  and  what  below  it,  but  what  is  on  its  right  and  what 
on  its  left.  The  one  key  no  longer  stands  alone  on  the  mind's 
modulator.  It  has  an  elder  brother  on  the  right  and  a  younger 
on  the  left,  and  each  of  its  tones  bears  cousinship  to  the  other 
two  families,  and  may  be  called  to  enter  them.  Therefore,  at 
all  the  later  lessons  of  this  step,  exercises  should  be  given  in 
committing  to  memory  this  relationship,  p.  77.  The  pupils 
must  learn  to  say  these  relations,  collectively  and  each  one  for 
'  himself,  without  the  modulator. 

Memory  Patterns.  It  is  diffloult  to  indicate  divisionB 
of  time  by  the  motions  of  the  pointer  on  the  modulator  with 
sufficient  nicety  t«  guide  the  singers  in  following  a  voluntary, 


and  it  is  important  to  exercise  the  memory  of  tune  and  rhythm. 
For  these  reasons  our  teachers  give  long  patterns— extending  to 
two  or  more  sections — including  some  of  the  more  delicate 
rhythms.  These  patterns  are  given  laa-ing  but  pointing  on  the 
modulator.  The  pupils  imitate  them,  without  the  teacher  s  point 
ing,  first  Bol-fa-ing  and  then  laa^ing.  ' 

Memory  Singing.  The  practice  of  singing  whole  pieces 
to  words,  from  memory — in  obedience  to  the  order  "Close 
books:  eyes  on  the  baton — is  a  very  enjoyable  one.  The  singer 
enjoys  the  exercise  of  subordination  to  his  conductor  along  with 
a  sense  of  companionship  in  that  subordination,  and  delights 
in  the  effects  which  are  thus  produced.  This  practice  is  very 
needful  at  the  present  stage  in  order  to  form  a  habit,  in  the 
singer,  of  looking  up  from  his  book.  This  should  now  be  his 
normal  position.  But,  as  from  necessity,  the  learner's  eyes  have 
hitherto  been  much  engaged  with  his  book,  he  will  have  to  make 
a  conscious  effort  to  form  "the  habit  of  looking  up."  Occasional 
"Memory  Singing"  will  make  him  feel  the  use  and  pleasure  of 
this. 

Ear  Exercises  (which  will  now  include  fe  and  ta,  and 
new  difficulties  of  time),  Dictation,  Pointing  arui  Writing  from 
Memory,  should  still  be  practiced.  Writing  from  memory  does 
not  at  all  take  the  place  of  pointing  from  memory.  There  have 
been  pupils  who  could  write  from  memory,  but  could  not  point 
the  same  tunes  on  the  modulator.  It  is  important  to  establish 
in  the  memory  that  pictorial  view  of  key  relationship  which  the 
modulator  gives,  especially  now  Uiat  the  study  of  Transition  is 
added  to  that  of  the  scale. 


FOUBTH  STEP. 


119 


QUESTIONS  FOR  WRITTEN  OR  ORAL  EXAMINATION 


I.  How  many  greater  steps  are  there  ut  the  scale, 

and  between  which  tones  do  they  occur  1 

S.  How  many  smaller  steps  are  there,  and  where 
do  they  occur  ? 

3.  How  many  little  steps  are  there,  and  where 

are  they  ? 

4.  What  is  the  difference  between  a  greater  and 

a  smaller  step  called! 

5.  How  many  kommas  has  a  greater  stept  A 
smaller  step  t   A  little  step  1 

6.  By  what  other  names  are  intervals  called  ? 

7.  Wliat  is  the  interval  from  any  tone  to  the 

next  in  the  scale  called  t 

8.  What  is  the  interval  from  any  tone  to  the 

third  tone  from  it  called ! 

9.  What  is  a  Second  called  that  is  eqnal  to  one 

fall  step) 

10.  What  is  a  Second  called  that  is  equal  to  a  lit- 
tle step  (half-step)  I 

II.  What  kind  of  a  Third  is  equal  to  two  steps  t 

13.  What  kind  of  a  Third  is  equal  to  ose  foil  step 
and  one  little  step  I 


DOCTRINE. 


13.  What  is  the  interval  from  /ah  to  te  called  t 

14.  Which  are  the  two  moat  marked  characteristlo 

tones  of  the  scale  ? 

15.  From  th«ir  mental  eifcts,  what  are  fah  and  (e 

called? 

16.  What  is  a  change  of  key  during  the  course  of 

a  tune  called T 

17.  Which  is  the  sharp  distinguishing  tone,  and 

what  is  its  mental  effect! 

18.  Which  is  the  flat  distinguishing  tone,  and 

what  is  its  mental  effect? 

19.  On  which  side  of  the  modulator  is  the  first 

shan)  key  t   On  which  side  is  the  first  flat 

keyf 

20.  In  going  to  the  first  shai-p  key  what  does  the 

soh  of  the  old  key  become  in  the  new!  What 
does  the  old  lah  become !  What  does  the  old 
U  become !  (The  teacher  will  supply  addi- 
tional questions.) 

21.  In  going  to  the  first  flat  key  what  tone  of  the 

old  key  becomes  lioh  in  the  new!  What 
tone  becomes  ray  I  (The  teacher  will  sup- 
ply additional  questions.) 


29.  What  is  that  tone  called  on  which  the  change 
is  made  from  one  key  to  another! 

23.  How  are  bridge-tones  indicated  in  the  iM>t»- 
,  tion? 

34.  What  is  the  meaning  of  the  little  notes  placed 
on  th<e  right  or  left  of  the  key  signature  in 
transition ! 

25.  What  are  the  general  mental  effects  of  transi- 

tion to  the  first  sharp  key  I  To  the  first  flat 
key! 

26.  What  is  a  Cadence  Transition!   Is  it  written 

in  the  "proper"  or  "improper"  way! 

27.  What  is  a  Passing  Transition  ?  How  written ! 

28.  What  is  Extended  Transition  f  How  written  ? 

29.  What  is  the  name  for  a  silent  quarter-pulse  on 

the  strong  part  of  a  pulse!  On  the  weak 
part  i   How  is  it  indicated  in  the  notation  ? 

30.  What  is  the  name  of  a  pulse  divided  into 

thirds !   How  indicated  in  the  notation  t 


PEACTICK 


tl  Teacher  singing  to  figures,  Exercise  175,  let 
the  pupil  tell  to  what  figure  the  distin- 
guishing tone  of  the  first  sharp  key  was 
sung.    The  same  with  176, 

32.  In  the  same  manner  let  the  pupil  name  the 

distinguishing  tone  of  the  first  flat  key,  in 
Exercises  182  and  183. 

33.  Teacher  singing  to  figures,  "Langdon,"  page 

110,  (each  line  beginning  ^vith  1) ;  let  the 
pupil  name  by  its  figure,  first,  the  distin- 
guishing tone  of  the  departing  transition; 
and,  second,  that  of  the  returning  trans- 
ition. 

34.  Pitch,  without  a  tuning  fork,  the  keys  B,  B 

flat,  E,  E  flat,  and  A  fiat.  The  pupil  has 
not  satisfied  this  requirement,  if,  when  test- 
ed, he  is  found  to  De  wrong  so  much  M  • 
step. 


35.  Taatai  from  memory  any  one  of  the  Exercises 

192, 193, 194, 195,  the  first  pulse  being  named. 

36.  Taatai  any  part  of  "Merrily  sings  the  Lark," 

or  the  Round,  "King,  ring,  ring,"  page  103. 

37.  Beat  a  number  of  two-pulse  measures  describ- 

ing the  motions  of  the  hand.  The  same 
with  four-pulse  measure.  The  same  with 
six-pulse  measure. 

:!8.  ToUow  the  examiner's  pointing  in  a  new  vol- 
untary containing  transition,  both  to  the 
fixst  sharp  and  first  fiat  keys,  and  singing 
to  la. 

39.  Point  and  sol-fa  on  the  modulator,  from  mem- 
ory, any  one  of  the  pieces  on  pages  80  to  86, 
chosen  by  the  examiner. 


40.  Write,  from  memory,  any  other  of  these  pieces 

chosen  by  the  examiner. 

41.  Sing  to  te  at  first  sight,  any  exercise  not  more 

difiicult  than  these  pieces. 

42.  Tell  which  is  fe  and  which  is  to,  as  directed, 

page  32,  question  31. 

43.  Tell  what  tone  (fe  or  to)  is  la,  as  directed,  page 

32,  question  32. 

44.  Taatai  any  rhythm  of  two  or  three  four-pulse 

measures,  belonging  to  this  step,  which  the 
examiner  shall  to  to  you.  See  page  32,  ques- 
Uon  33. 

45.  Taatai  in  tune,  any  rhythm  of  two  or  three 

four-pulse  measures,  belonging  to  this  step, 
whion  the  examiner  shall  »oV-/a  to  you. 


INDEX 


FAOB 

After  study  we  shall  find.  (Round)   16 

All  that  now   36 

All  together.  (Round)   53 

Antwerp.  L.  M   63 

Anywhere   84 

AiUngton.   C.  M   66 

Ascription.  S.  M   70 

Banish  Sorrow   29 

Beautiful  Month  of  May   36 

Beauty  in  the  woodland.  (Round)   31 

Call  John  the  boatman.  (Round)   71 

Cheerful  Labor   19 

Cheerfulness  cometh  of.  (Round)   22 

Cheerfully  work.  (Round)   19 

Chime  Again   89 

Chipperee  Chee   82 

Christmas  Carol   105 

Christmas  Song   48 

Come  Back,  Sweet  May   80 

Come,  come  to  the  singmg.  (Round)   63 

Come  foUow  me.  (Round)   22 

Come  let's  laugh.  (Round)   22 

Come,  let  us  all  be  Merry   72 

Come  now.  (Round)   34 

Come  now.  (Round)   71 

Come  now.  (Round)   71 

Come  to  the  Fountain   82 

Come  Unto  Me   26 

Come  Unto  Me.   No.  2   106 

Come  ye  away.  (Round)   23 

Joming  Night   40 

Mcket,  The   38 

Cuckoo,  cuckoo.  (Rovmd)   25 

Daisy,  The   37 

Day  has  gone.    (Round)   9 

Dennis.    S.  M   70 

Elementary  Rhythms  115-118 

Evan.    CM   53 

Evening  on  the  Lake   Ill 

Evening  Prayer   55 

Ever  blooming.  (Round)   21 

Every  Day  hath  Toil  -   107 

Far  out  in  the  Wild  wood   36 

Father  of  Mercies   87 

For  Health  and  Strength.   (Round)   52 

Gentle  Spiing  is  here  again   29 

Gently  Evenmg  bendeth   83 

Good  Night   112 

Great  and  Good   9 

Happy,  happy  New  Year.  (Bonnd)   22 

Happv  Home   23 

Hark  I  how  pleasant.  (Round)   35 


FAOB 

Hark  I  the  distant  bell.  (Round)   55 

Hear  the  Warbling  Notes   72 

Here  I  go.  (Round)   17 

Honey-Bee's  Song,  The   81 

Hope  On,  and  Hope  Ever   37 

Hope  will  banish  Sorrow   110 

How  Sweet  to  be  Straying   99 

How  Sweet  to  Hear   50 

Hurrah!  for  the  Merry  Green  Wood   56 

Hurrah  for  the  Sleigh  BeUs!   88 

Hurry  now.  (Round)   17 

If  happiness.  (Round)   34 

If  the  weather.  (Round)   35 

In  the  Vineyard   101 

Join  in  Singing.  (Round)   10 

Kingdom.    7s   50 

Langdon.    C.  M  -   110 

Learn  to  sing.  (Round)   28 

Let  us  endeavor.  (Round)   16 

Let  us  sing.  (Round)   18 

Lilies  and  Roses   94 

Longings   20 

Lo!  the  Glad  May  Mom   44 

Lond  through  the  World  Proclaim   68 

Lovely  Land,  The   84 

Lovely  May   31 

Malvern.    L.  M   61 

March,  march,  march  away.  (Round) ....  25 

May  is  here   85 

Merrily,  merrily  dancing.  (Round)   22 

Merrily,  merrily  sound  the  horn.  (Round)  23 

Merrily  Sings  -   103 

Merrily  the  bells.  (Round)   31 

Merrily  the  Cuckoo   45 

Merry  May.  (Round)   60 

Miller,  The   95 

Morning  Hymn   49 

Mother,  Childhood,  Friends  and  Home.. .  42 

Murmuring  Brooklet   96 

Music  Everywhere   43 

My  Mountain  Home   51 

Never  Say  Fail   48 

No,  no,  no.  (Round)   71 

Now  beware.  (Round)   95 

Now  the  Evening  Falls  ,   54 

Now  the  Second  Step  is  coming.  (Round)  14 

Now  the  Wintry  Storms   93 

Now  we  are  met.  (Round)   22 

Now  we  say  farewell.  (Round)   35 

Nutting  Song   104 

O  Haste.  (Round)   25 

Oh!  the  Sports  of  Cluldhood   64 


Oh,  Wipe  away  that  Tear   97 

Old  Black  Cat,  The   65 

One,  two,  thi'ee.  (Round)   31 

Onward  Christian  Soldier   86 

Onward  to  the  silent  river.  (Sonnd)   16 

O  Sweet  to  Me   36 

Out  in  the  Shady  Bowers   98 

Over  the  Snow   26 

Rest,  Weary  Pilgrim   94 

Rise,  Cynthia,  Rise   90 

Roaming  over  Meadows.  (Round)   12 

Robbins.    L.  M   47 

Sabbath  Evening  -   109 

Says  William  to  Julia.  (Round)   60 

Scotland's  burning.  (Round)   16 

Seek  the  tender  Shepherd   93 

See  the  bee.  (Round)   25 

Serenade   53 

SUent  Vale   40 

Sing  every  One   24 

Singing  Cheerily   98 

Sing  we  now.  (Round)   28 

Skating  Glee   43 

Sleep  Beloved  -   114 

Song  of  the  Autumn   41 

Sound  the  strain  again.  (Round)   6:^ 

Speak  Kindly   62 

StiU  Like  Dew   27 

Sun  Shower   52 

Sweet  Evening  Hour   100 

Sweet  Summer  Crowns   22 

Sweet  Voice,  The   108 

Swell  the  Anthem   19 

Tell  Me,  Spring   39 

The  bell  doth  toU.  (Round)   54 

To  Portsmouth.  (Round)   80 

To  the  Mountain   67 

Tuning  Exercises  17,  18,  39,  40 

Twilight  is  Stealing   6H 

Up,  up  and  away.  (Round)   6b 

Virtue  would  Gloriously   92 

Wake  the  Song  of  Jubilee   58 

Warble  for  us.  (Round)   52 

Wayside  WeU,  The   42 

What  a  Clatter.  (Round)   12 

What  you've  to  do.  (Round)   34 

While  we  meet.  (Round)   3S 

Who's  There?   25 

With  the  Rosy  Light   91 

With  the  Sprmg-time.  (Round)   35 

Who  sows  good  seed.  (Round)   35 

Work  while  you  work   38 

Yes,  or  No   61 


BI6LOW  &  MAIN, 

Publishers  and  Dealers  In  Tonic  Soi-Fa  Publlcalions, 

76  EAST  NINTH  STREET,  NEW  YOR^C;  81  RANDOLPH  STREET,  CHICAaO. 


The  Tonic  Sol-Fa  Music  Reader : 

A  Course  of  Instruction  and  Practice  in  the  Tonic  S'  - 
Fa  Method  of  teaching  Singing,  with  a  Choice 
Collection  of  Music  suitable  for  Day  Schools  and 
Singing  School?  By  Theodore  F.  S^vard,  as- 
sisted by  B.  C.  Unseld.  Approved  by  John 
CURWEN.    Price,  35  cents  ;  $30  per  100  copies. 

Supplement  to  The  Tonic  Sol-Fa  Music  Reader : 

A  cohtinuation  of  the  Course  of  Instruction  contained 
in  the  Tonic  Sol-Fa  Music  Reader.  By  Theo- 
dore F.  Seward  and  B.  C.  Unseld.  Price,  25 
cents  ;  $20  per  100. 

The  Tonic  Sol-Fa  Music  Reader  Revised: 

Comprising  the  Reader  and  Supplement,  making  a 
book  of  168  pages.  By  Theodore  F.  Seward 
and  B.  C.  Unseld.  Price,  50  cents  per  copy  ; 
$45  per  ICQ. 

Songs  in  Sol-Fa  ; 

By  T.  F.  Seward  and  B.  C.  Unseld,  for  Sunday 
Schools,  Day  Schools,  Institutes  and  Evening 
Classes.  Price,  $20  per  100  copies  by  express. 
Sample  copies  mailed  for  25  cents. 

The  Tonic  Sol-Fa  Advocate: 

The  Organ  of  the  Tonic  Sol-Fa  Movement  in  Amer- 
ica, Theodore  P.  Seward,  Editor,  will  be  issued 
monthly,  coaimencing  September  1st,  1881.  Price, 
5  cents  per  copy,  50  cents  per  annum.  Clubs  of 
twenty-five  and  upwards,  40  cents.  Copies  of  the 
first  volume  containing  16  numbers,  bound  in 
full  cloth,  price,  each,  per  mail,  $1.15. 
'All  subscriptions  must  end  with  the  December 
number  of  eacli  year. 


Messrs.  BIGLOW  &  MAIN  have  been  ap- 
pointed Sole  Agents  in  the  United  States  for  the 
sale  of  the  Tonic  Sol-Fa  Publications  of  Messrs. 
JOHN  CURWEN'S  SONS,  London,  and  have  now 
in  stock  the  foUowring  works,  viz. : 


Hand  Modulator  (on  card)  

Threepenny    Modulator.       Size,  36x12 

inches  paper. 

Sixpenny  Modulator.     Size  45x18  inches, 

paper  

Step  Modulator.  Size,  49  x  29  inches,  paper, 


Single 
Copy  by 
Mail. 


22 
30 


Price 
per  100 
Copies. 
$10  00 


20  Or> 
27  00 


Shilling  Modulator.  Size,  60x25  inches, 
paper  

"  Calico  "  Modulator.  Size,  72  x28  inches, 
(on  muslin)  -  

Time  Charts  paper, 

Tonic  Sol-Fa  Testimonials  (50  copies  for 
27  cents)   . . 

Staff  Notation  Primer.  J.  Spencer  Cur- 
wen   

Staff  Notation.    John  Curwen  paper, 

Pupils'  Tuning  Forks  

Hints  for  Modulator  Voluntaries  paper, 

"     Ear  Exercises   " 

Studies  in  Mental  Effects  

How  to  observe  Harmony  

Musical  Theory   ... 

Standard  Course  

Teachers'  Manual  

Metronomes,  each  

The  Messiah  Oratorio.    Geo.  F.  Handel, 

Elijah  "  Mendelssohn. 

St.  Paul  " 

German  Two-part  Songs.  A.  J.  Foxwell, 
paper  

Short  Anthems.  J.  S.  Curwen  cloth, 

"  .  "  "  in  Staff  Notation, 
cloth  

Mechanism  of  the  Human  Voice.  E. 
Behnke  each. 

Studies  in  Worship  Music.    J.  S.  Curwen, 

Additional  Exercises,  Parts  2  and  3,  paper, 
each  I . . . . 

Harmony  Player  for  the  Harmonium,  paper, 
J.  Curwen  

Account  of  the  Tonic  Sol-Fa  Metl^od  (50 
copies  for  27  cents)  

Story  of  the  Tonic  Sol-Fa  Method.  J.  S. 
Curwen.    (25  copies  for  40  cents). . . . 

Philanthropic  Aspects  of  the  Tonic  Sol-Fai 
Method.    J.  S.  Curwen  •. . 

Tonic  Sol-Fa  Method  in  the  Church  ^  '  Eng- 
land. J.  S.  Curwen.  (25  cr:  for 
40  cents)  

Tonic  Sol-Fa  Plans.  J.  S.  CURWF.n  ir, 


Single 
Cor-  n/ 
Mail. 


44  4C 


^3 
44 


£2 
21 
42 

8 

12 
12 
85 
33 
33 
90 
52 
43 
63 
57 

15 
42 


1  24 

2  14 

15 
62 


7 
II 


«o 

dr  OC 

3  O'- 

Tu  O'  , 
20  ^  f 
40  0  ' 
7  c. 
10  ro 
10  (n> 
80  .  o 
125  -iO 
125  o 
180  00 
50 

40  OQ- 
60  f  .. 

54 

14  00 
40  00 


42     40  00 


120  00 
200  00 

14  00 

60  00 
3  00 
6  00 

10  00 


6  00 

6  00 


We  -will  forward  Messrs.   CCJRWEN'S  com- 
plete Catalogue  on  applivation,  and  will  ordr r  wJiat- 
I  e-vei  is  rtesired  from  it  at  the  ra*  ;  of  forty  cents  to  the 
'  Unglish  Shilling,  adding  the  postage  thereto. 


A  Liberal  Discount  to  ttie  Trade.  Catalogues  and  Specimen  Pages  furnished  free  on  application. 


